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COPYRIGHT DBPOSm 



DOMESTIC ART 

IN 

WOMAN'S EDUCATION 



DOMESTIC ART 

IN 

WOMAN'S EDUCATION 



FOR THE USE OF THOSE 

STUDYING THE METHOD OF TEACHING DOMESTIC ART AND 

ITS PLACE IN THE SCHOOL CURRICULUM 



BY 

ANNA M. GOOLEY, B.S. 

ASSISTANT PROFESSOR OF DOMESTIC ART IN THE TEACHERS 
COLLEGE, COLUMBIA UNIVERSITY 



NEW YORK 

CHARLES SCRIBNER'S SONS 
1911 






COPYKIGHT, 191 1, BV 

CHARLES SCRIBNER'S SONS 







CAA280912 



^ 



TO MY GRANDMOTHER 
ANNA MARIA COOLEY 



PREFACE 

The permanency of Domestic Art as a feature in 
the education of woman is assured. It is so vital an 
expression of her nature that any curriculum which 
does not include training for the home sphere ignores 
the very centre about which her life revolves. Many 
of the home talents are innate and develop naturally, 
but many lie dormant because untrained. When 
woman begins to preside over her own home, she 
soon discovers her limitation if she has not had the 
advantages of training along the lines of household 
arts and economics. This book is not an argument 
for the introduction of Domestic Art, for that is un- 
necessary, but it is hoped that it may be of value to 
those who do not see its relationship to other ele- 
mentary school subjects nor the place it may occupy 
in high schools, colleges, or trade schools. 

Domestic Art has suffered because many have 
tried to teach it who were not fully prepared to do 
so, and who have failed to see the vital relationships 
and the thought content involved. The subject has 

vii 



Vni PREFACE 

been so poorly presented in some places that it has 
naturally lost favor, but this is not because it lacks 
content. It is hoped that this little book may be of 
assistance to those who, knowing the practical tech- 
nique of Domestic Art, may seek for more light on 
methods of presentation of subjects and planning of 
courses of study in various types of schools. It is 
also hoped that it may offer suggestion of the content 
which is involved in the study of Domestic Art. 

The author wishes to express her thanks to the 
students in her classes who have kindly permitted 
the use of some of their class plans, illustrative of 
courses of study suggested for different kinds of 
schools, and to her friend and teacher, Mary Schenck 
Woolman, for her enthusiasm and inspiration which 

prompted this work. ^ 

Anna M. Cooley. 

January, 191 1. 



CONTENTS 

PART I. SOME PROBLEMS CONFRONTING 

THOSE INTERESTED IN TEACHING 

DOMESTIC ART 

CHAPTER PAGE 

I. The Field of Domestic Art 3 

II. The Relation of Domestic Art to Education io 

III. The Necessity for Study of the Pupil . . 20 

IV. Problems Connected with the Presentation 

OF Domestic-Art Subjects ..... 34 

V. The Study Involved in Planning a Domes- 
tic-Art Lesson or Series of Lessons . 57 

VI. The Economics of Domestic Art .... 87 

VII. How TO Keep in Touch with Progress in the 

Domestic-Art Field . 100 

PART II. DOMESTIC ART IN THE ELEMENTARY 

SCHOOL 

VIII. Division of Subject-Matter for the Ele- 
mentary School 108 

ix 



X CONTENTS 

CHAPTER PAGE 

IX. The Factors Involved in Planning a Course 
OF Domestic-Art Work for the Ele- 
mentary School 122 

(a) Course of study for Grades 1-4, showing 

use of many lines of hand-work of which 
domestic art is but one phase. 

(b) Course of study for New York Elementary 

School, Grades 1-8, showing use of 
domestic-art work. 

(c) Course of study showing use of textile 

phase of industry as one line of industrial 
thought for Grades 1-8. 

(d) Course of study in domestic art for Ele- 

mentary School, Grades 7, 8, 9, with 
emphasis on the vocational aspect of the 
work. 

(e) Course of study in domestic art for Ele- 

mentary Schools, Grades 5, 6, 7, 8. 



PART III. THE RELATION OF DOMESTIC ART 
TO SECONDARY EDUCATION 

X. Can Domestic Art Contribute to the Gen- 
eral Aims of Secondary Education? . 175 

XL The Selection and Planning of Work for 

THE Secondary Schools . . . . . . 187 

(a) Part of Household Arts Course for Secon- 
dary School of Classical type. 

(6) Domestic-Art Course for Manual Training 
High School. 

(c) Domestic-Art Course of Study for Manual 

Training High School. 

(d) Dressmakers' Course in Technical High 

School. 



CONTENTS ' xi 

PART IV. DOMESTIC ART IN HIGHER 
EDUCATION 

CHAPTER PAGE 

XII. Domestic Art as a Part of College Training 

FOR Women 246 

XIII. Domestic Art in Other Higher Institutions 

OF Learning 261 

A Selected Bibliography of Books Helpful 
IN the Study of the Various Phases of 
Domestic Art 269 



DOMESTIC ART 

IN 

WOMAN'S EDUCATION 



PART I 

SOME PROBLEMS CONFRONTING THOSE 

INTERESTED IN TEACHING 

DOMESTIC ART 



CHAPTER I 
THE FIELD OF DOMESTIC ART 

The term domestic art as applied to part of 
woman's education has been in use for about twenty 
Confusion of years. During tHe past five or six years 
terminology. ^ confusion of terminology has arisen, 
and throughout the West the term domestic science 
is used to designate all the arts centring about the 
home. In another section of our country, especially 
the Middle West, household arts is used synony- 
mously with domestic science, so that naturally one 
often hears the questions, ^^What is domestic art?" 
"What is domestic science or domestic economy?" 

3 



4 DOMESTIC ART 

and "What is meant by household arts?" The last 
title is probably the one which should be made the 
general term to include all the arts and sciences 
which centre about home-making. This seems large 
enough to include all of the following subjects, which 
may be classified thus: 



Domestic 
Science. 



Physics and chemistry. 
Physiology and hygiene. 
Chemistry of foods and dietetics. 
Cooking and serving of meals. 
Bacteriology and biology. 
Laundering. 

Economics and sociology. 
History of foods, preparation, and 
manuf acti^re. - 



Household 
Manage- 
ment. 



Home nursing and invalid cookery. 

Keeping household accounts, of 
food, shelter, and clothing, etc. 

Domestic service. 

Household sanitation and decora- 
tion. 

Institutional and home shopping. 

Repairing and renovating. 

History of home, sociology, eco- 
nomics, and business law. 



THE FIELD OF DOMESTIC ART 



Domestic 

Art. 



Art, especially design in relation 
to the home, its furnishings, and 
dress. 

Sewing, dressmaking, millinery, 
-^ embroidery, crocheting, and knit- 

ting. 

Study of textiles, their history, 
manufacture, and properties in 
relation to use. ^ 

Repairing and care of clothing. 

Physiology and hygiene of clothing. 

History of architecture and dress. 

Economics and sociology. 

This broad outline is perhaps suggestive of what 
the work of this field of household arts may mean. 
Woman's It is all woman's realm, and there is no 

household not ^eason why woman should not run her 

generally well - J 

organized. houschold on Scientific and artistic prin- 
ciples. In the business world one finds that man is 
ever ready to try and adopt any new method of keep- 
ing books, filing, or cataloguing, and is constantly on 
the lookout for new developments of science which 
will send him ahead of his competitors. He would 
not expect success without system, organization, 
knowledge, and principles upon which to base his 
planning. If woman is to be trained to run her 



6 DOMESTIC ART 

household scientifically and artistically, to know the 
meaning of the true home-life, and the study of family 
and the child, teachers must certainly be well trained 
to introduce this subject into the school curriculum, 
so that when the mothers of the coming generations 
rear their children it will be on a foundation which 
will tend toward their development into truly good 
citizens — physically and morally strong. 

The subject-matter included under any one of 
these heads involves so many subjects that it is not 
the attempt of this book to describe them all — rather, 
attention will be centred (for discussion of subject- 
matter) about the field of domestic art, as one phase 
of the household arts, although the suggestions for 
methods of teaching, planning of courses of study, 
relation to general education, may be as truly appli- 
cable to the fields of domestic science and household 
management. 

One generally hears the term " domestic art " in use 

in relation to sewing in either the elementary or high 

school. This is a very narrow usage of 

Common use 

of domestic the term when one considers all the sub- 
art narrow. 

jects above outlined and the underlying 

ideals and content which such subjects imply. 

The ethical, social, and aesthetic values are often lost 



THE FIELD OF DOMESTIC ART 7 

sight of and the material or utihtarian side made the 
main issue. Not but that this should be strongly 
emphasized, but the field may be so much broader 
and the results so much more satisfactory, in relation 
to both work and child, if teachers are trained with 
a view to including the cultural and educational 
foundations of this great field of work. 

A closer analysis of subject-matter 

Closer analysis 

of domestic art may be advisablc before discussing the 
relation of this field of work to general 
education, or to trade and industrial life: 

J I. Hand Sewing. — The direct application of 
stitches to articles of interest to the pupils. 

2. Machine Sewing, — The use of foot-power and 
electric-power machines, the latter especially in 
schools of trade type, in garment-making, dressmak- 
ing, and other articles. 

3. Drafting of Patterns. — Some form of simple rule 
drafting or system drafting, pattern modelling, and 
use of bought patterns. 

4. Millinery .r-T^Q making, designing, and trim- 
ming of hats of various styles for all seasons. 

N.^5. Embroidery.- — The use of stitches in decoration 

of garments, household articles or other furnishings. 

%. Crocheting and Knitting. — The making of simple 

articles — forming foundation for more advanced work. 



8 DOMESTIC ART 

y. {Repairing and Care of Clothing. -^Tsitching, 
darning, remaking; economy in relation to planning 
for one's wardrobe — or for family wardrobe; adapta- 
tion of garment to use. 

^S. Textiles. — This may include the study of the 
textile arts of weaving, netting; properties of textiles 
in relation to use ; history of the evolution and manu- 
facture of textile industries; dyeing and cleansing; 
study of widths, prices, and qualities of materials, as 
well as adaptation to use. 

S^ Hygiene in relation to dress and furnishings, 
-^lo. Art in relation to design and color for use in 
the home and for dress; arrangement of interiors of 
houses; suitability of line and color in relation to 
dress; study of general principles of design. 

II. Woman^s Relation to the Social Field. — Discus- 
sion of sweatshop labor; leagues for social betterment, 
as Consumers' and Municipal League; bargains; 
ethics of shopping; development of social conscious- 
ness; training in accuracy, neatness, foresight, and 
responsibility. 

nqE2. History. — Industrial history; history of archi- 
tecture; history of costume; development of house- 
hold art, and history of handicraft. 

13. Economics and Simple Business Law. — Ec- 
onomics of the home, relation of expenditure to in- 
come. Household management, especially in rela- 
tion to purchase and care of clothing and furnishings. 



THE FIELD OF DOMESTIC ART 9 

Household arts, of which this domestic art is a part, 
has been happily defined as, ''a comprehensive term 
which includes the scientific study of all matters and 
means which will contribute to the happiest, health- 
iest, and most efiicient family life." 

Reference for Study 
** History of Home Economics Movement," Bevier and Usher. 



CHAPTER II 

THE RELATION OF DOMESTIC ART TO 
EDUCATION 

In order to see the relation of industrial work to 
education, it is necessary for us to consider, in a few 
Industrial Statements, the meaning of education 

work a vital ... n . , rr-n 

partofeduca- ^^ it IS now generally accepted. The 
*^°°' following words seem to sum up the 

situation: *^The education of the individual is the 
process of adjustment to or participation in the world 
of social relationships and in the fund of social ex- 
perience, the ideals and methods which those relation- 
ships conserve." We have, therefore, the little child 
in our midst, the little child who is to be brought to 
a realization of his own self and place in the world 
and to see his relation to the progress of events. All 
the culture of the race is his ''spiritual possession" 
and the unknown land through which he is to be 
guided, in order that he may become an efficient 
individual. 



lO 



RELATION OF DOMESTIC ART TO EDUCATION II 

There are two points for us to keep before us, in 
considering the relation of industrial work to edu- 
cation : 

1. How can it help to interpret the child's social 
relationship ? 

2. Can industrial work help him to trace the 
progress of events which have led to present civiliza- 
tion and help him to become intellectually, emotion- 
ally, and volitionally adjusted? 

People have been slow to realize that hand-work 
has been a potent factor in the spiritual and mental 
development of nations. There is a longing in every 
soul for expression. There are many useless people 
in the world to-day because of lack of training in the 
industrial arts. The individual must be given a 
chance to express and the mind allowed to react to 
the ideas and impressions received, in order that 
through use there may be the necessary brain devel- 
opment and adjustment to new conditions. 

From time immemorial man has worked with his 
hands, and his time and attention have been utilized 
Hand-work as '^^ the production of things both use- 
oidasman. £^| ^^^ Ornamental. "Necessity" very 

often was the "mother of invention," and the need 
for food, shelter, and clothing led to the gradual de- 



12 DOMESTIC ART 

velopment of industries, from the simple hand-work 
to the elaborate products of the factory system of 
to-day. 

Whether, then, through necessity or simply because 
of joy in expression through the hands, the world is 
to-day a rich treasure-house stored with the wonder- 
ful products which man has created. The instinct 
for production is not dead, but will last as long as 
man, for to create is a divine and God-given instinct. 

Froebel, in his study of the child, realized that his 
natural activity could be utilized and turned into 
channels which would lead to his gradual physical, 
moral, and intellectual development. He believed 
this should be of the head, heart, and hand. For 
that purpose he introduced the gifts, occupations, 
songs, and plays, and allowed the child to invent and 
create. Joy and happiness in work were the results. 

For some time kindergarten training was a pre- 
carious feature in education, but now that this branch 
has been incorporated in the public 

Froebel real- 
ized the value school systcms and colleges, and finds 

of hand-work. , ... , . 

a place even m university work, it seems 
an assured fact that children are to receive some of 
their early training in the kindergarten. Here their 
crude ideas are worked out through the materials 



RELATION OF DOMESTIC ART TO EDUCATION 13 

offered, and the child improves in his abihty to ex- 
press himself with his hands — for expression is neces- 
sary if im_ages are to be clear. This hand-work 
satisfies the early craving of the child for play and 
the practical, and the gifts and occupations become 
playthings in his hands, but, unknown to him, things 
of educational value. 

When the child leaves the kindergarten and passes 
to the grade school, too often the change is a very 
abrupt one. There is a lack of the old-time freedom, 
and an absence of the play materials. Children 
then begin to lose interest, and the attention is often 
forced rather than spontaneous, and teaching ceases 
to be as effective. 

As a help in alleviating this difficulty, hand-work, 
as one of the mediums of expression, has been intro- 
Theintroduc- duccd into many of the grade schools, 
work intT'*" somctimcs in correlation with other sub- 
schoois. jects, but more often simply in an occu- 

pational way. Hand-work as manual training is most 
effective when taught in relation to the other work of 
the grade, so that there is unity and a harmonious 
development. By manual training is meant not 
simply work which is spontaneously interesting and 
keeps the child alert and active, but work which is 



14 DOMESTIC ART 

educationally effective. This effectiveness is in the 
hands of the teacher, and will be worked out by her 
if she understands the theory back of real manual 
training and the true relationship to industrial life. 

It is not that hand-work is to be introduced as a 
study which is a unity in itself, but with other studies 
which go to make up the curriculum, so that it may 
help to vitalize the rest and bring the child directly in 
contact with the world and the reality of things. The 
constructive activities may be made the centre of all 
studies and radiate into all life, beginning primarily 
with the home, which is nearest akin to the life and 
interests of the young child. Through the different 
lines of hand- work the child becomes acquainted with 
the materials and processes which have made social 
life what it is, because it has contributed to culture 
a share of the scientific, literary, aesthetic, institu- 
tional, and religious inheritance of the child. 

In tracing the elements in the curricula of various 
ages, one notices that they are the result of the domi- 
Hand-work TidiYii social tendencies. The seventeenth 
of^h^useh^oiT* century saw a change in the character of 
work. s^ociety, and the introduction of the ver- 

nacular and the realistic subjects into education. The 
eighteenth and nineteenth centuries were characterized 



RELATION OF DOMESTIC ART TO EDUCATION 15 

by the prominence of the scientific element. The 
twentieth century is particularly the era of economic 
advancement, and we may hope to see the industrial 
element becoming more and more a feature of mod- 
ern education. This revolution in economic changes 
has caused a shifting of population and brought 
about changes in habits of living. People living a 
nomadic life are, in their family group, economically 
sufficient unto themselves. When society developed 
and people grouped themselves in towns and villages 
the neighborhood produced nearly all that was 
necessary for life. The industrial occupations were 
centred especially in the home, where all the processes 
of development were seen and participated in, from 
the raising of the wool and flax to the spinning, dye- 
ing, and weaving of the cloth, and the production of 
all the necessities of life. This work was partici- 
pated in by all the members of the household. 

Since the industrial revolution and the rapid ex- 
pansion of the factory system the elements in the 
curriculum have not kept pace accordingly. While 
this change brings so much that is good, it also 
almost eliminates much that was of value in the 
old neighborhood system. Should not our modern 
curriculum respond and, if possible, try to make 



1 6 DOMESTIC ART 

amends to the child for the lack of some of the old- 
time family training, where the child was taught to 
do in the home, and to be responsible, and to feel 
that he had an economic share in production? 

Should not the training which is given the children 
in the upper grades be planned to prepare them for 

Direct bearing ^ socicty which is industrial, as ninety- 
of ijidustriai £^g ^^^^ ^Q ^q|. gg jj^^Q higher 

work on tram- ^ jr o 

ing for life. schools ? Is not haud-work for the little 
people if directly connected, first with home inter- 
ests and then with the evolution of the social in- 
dustrial interests, a step in the right direction, 
keeping in mind what the future development must 
be? Can we not, through making these construc- 
tive activities a part of our curriculum, acquaint 
the child with the things which make for true 
culture and liberal education, as well as give him 
an introduction to industrial life? Let us teach 
him the wisdom of foresight which is so essential 
to success, to be a responsible being with obliga- 
tions toward his fellowmen; let us acquaint him 
with their needs and conditions, that his sympathies 
may become broadened and a deeper reverence for 
man and God may result. If acquaintance with 
i industrial work can help to contribute some of these 



RELATION OF DOMESTIC ART TO EDUCATION 17 

things, it is surely a vital part of education, in fact, 
the very core of a liberal education. 

There is, however, often danger of the teacher of 
constructive work overestimating the importance of 
Danger of ^cr line of activity. There must be 
overestimat- ^^^lancc in all things, and the industrial 

mg place of ^ ' 

hand-work. work, or later domestic art as a part 
of industrial work, should conform to the other 
studies and the relative amount of time be allowed 
for it. Household arts, of which domestic art 
is one phase, stand out pre-eminently in the 
field of industrial work as a part of education 
for woman. There are so many reasons why 
this is true. The girl becomes interested in life 
because she is dealing with things pertaining to 
every-day life; she sees connections, if the teacher 
will aid, in the study of history, geography, arith- 
metic, etc., and this unity helps in memory. She 
begins to feel useful because she can do or make 
things for others, and here begins the development 
Domestic art ^f social consciousness which is so im- 
^rrfn^e^very-*^^ portant a factor in the development of a 
day life. tj^^ly educated person. This study leads 

a girl to see her ability along certain lines of work, 
and often ultimately, among certain classes, to a 



l8 DOMESTIC ART 

selection of desirable work for life. A connection is 
made between life and technical work. If properly- 
taught, domestic art should have a highly moral ef- 
fect. It makes for perfect sanity and mental health, 
it develops the will and power of inhibition which is 
the root of self-control in morals ; it makes for firm- 
ness and force of character. A product which is 
correctly and neatly finished certainly fosters this. 
It must be clean, simple, accurate — this accuracy, of 
course, after a child has passed the age of about 
nine years. 

Girls learn to understand the value of a well-made 
article. This affects supply and demand, as woman 
is the greatest consumer, and will also affect the 
salary of the wage-earner. Good articles will be in 
demand. Domestic art also gives an understanding 
of materials, which will be of economic value in the 
home, and will also regulate the materials put upon 
the market. There is certainly created a greater 
respect for labor. While learning through this natu- 
ral method of doing, the observation, judgment, and 
imagination of the girl are all receiving training. A 
vital connection is being made with the home, for 
this new interest finds expression there and opportu- 
nity for further cultivation. Girls value most highly 



RELATION OF DOMESTIC ART TO EDUCATION IQ 

the ability to utilize things which they have, and 
are interested in making home comfortable and 
pleasant through decoration and the ability to do 
which this new art makes possible. There is an 
ever-increasing pleasure in correct color combina- 
tions and restful effects, and increased enjoyment of 
the beauties of naturer^ As the girl advances in the 
work she also learns how to plan her wardrobe eco- 
nomically, how to purchase wisely, and how to make 
her own clothes so that they will be adapted to her 
use and personality. This may lead her into trade 
work as a means of livelihood, for the opportunities 
are many which this field of domestic art affords. 
There is no stronger argument for this work than 
this, that it should make her a more truly capable 
woman, one sympathetically awake to the difficul- 
ties of others, able and ready to lend her trained 
hand, and responsible to bear her share of the bur- 
den of Kfe. 

References for Study 

"The Child and the Curriculum," Dewey. 

"Education of Man," Froebel. 

"The Meaning of Education," Butler. 

"School and Society," Dewey. 

" The Place of Industries in Elementary Education," K. Dopp. 



CHAPTER III 
THE NECESSITY FOR STUDY OF THE PUPIL 

One may be very familiar with the technique of 

domestic art and have intimate knowledge of the 

underlying thou2;ht content, may know 

Knowledge of ^ o o i j 

child nature how to present all of these thoughts, 
and yet fail as a teacher of domestic art 
because of lack of understanding of the different 
periods of childhood and girlhood. It is equally 
as important as technique of subject-matter to 
know the intricacies of working of the mind with 
which the teacher must deal and the effect various 
kinds of work may have on the pupil at different 
periods. A study of the many expressions of the 
self-activity of the child is a basis for planning the 
curriculum — either of general studies or of domestic 
art in relation to them. 

"The Case is of Child. It is his present powers 
which are to assert themselves ; his present capacities 
which are to be exercised; his present attitudes 
which are to be realized. But save as the teacher 



20 



THE NECESSITY FOR STUDY OF THE PUPIL 21 

knows, knows wisely and thoroughly the race experi- 
ence which is embodied in that thing we call curri- 
culum, the teacher knows neither what the present 
power, capacity, or attitude is, nor yet how it is to 
be asserted, exercised, and realized." 

The problem before us in planning hand-work for 
children, is one which should centre directly in the 

Work should child. We should begin with him and 
bear directly ^^ j|.]^ ^^^ -^ ^^^ Consideration, and 

on interests of ' 

the child. plan our work with his growth and de- 

velopment in view. The teacher must select the 
right stimuli for those impulses which are to be 
employed and must know the aim and direction of 
movement in planning — there must be a basis for ac- 
tion. The experience of the teacher therefore must 
interpret the mind of the child and lead on to some 
definite aim. 

It is not the accumulation of knowledge which we 
hope to heap upon him in our planning, or direct 
information in relation to concrete things, but to 
bring him to a realization of his relation to life. It 
has been said that "knowledge is not valuable, but 
knowledge as a function in life is indispensable." 

The little child loves to do, to act, to express what 
he sees in a constructive way. He first learns to 



22 DOMESTIC ART 

construct through play in making beheve. He loves 
to see results quickly and to make wholes rather 
Love of ex- than parts of things. At this period he 
pression and (^^lyqs more for the actual products than 

construction of ^ 

the little child, for the proccsscs by which they are made. 
Both are necessary for complete education. He wishes 
to imitate all phases of adult activity, but as play, not 
as work. There are, though, occasional periods when 
the child likes to feel that he is working, even though 
it is in a play way, as helping mother to dust, clean, 
or sew. The real work attitude comes later in the 
child's life and must be kept in mind in planning 
courses in hand-work. But play as well as work is 
necessary in the development of mind and most of 
early development comes through play in games, etc. 
Aristotle and Plato would have us realize the value 
in play, and Froebel's philosophy is based upon the 
development of the child through his activity in play, 
games, and occupations. Later he must learn to 
work in order to become truly socialized and be 
taught to see that products of work have an economic 
value. 

The child loves also to investigate, to explore — 
and this may later lead him to science. He under- 
stands things and the lives of those about him, 



THE NECESSITY FOR STUDY OF THE PUPIL 23 

in SO far as he realizes his ability to do and sees 

his relation to the lives of others. He finds himself 

in the midst of a complex world. Per- 

Love of ex- 
ploration and haps to him it may not appear so, for 
investigation. 

he is directly concerned with the con- 
crete world which lies nearest to and just about him. 
His interests centre in the home, the people and 
animals there, the personal attachments and love 
and sympathy of those about him. Therefore the 
early activities in school in order to connect with 
the home and be vitalized should centre there also. 
He loves best the things which he understands best. 
The teacher must guard against the impulse in 
children to do things at random and must direct 
the impulse into paths where real value may be the 
result. 

The child likes also to talk about his work; the 
mind must react and express itself if it has been 
Avenues of ex- impressed. The teacher of hand-work 
pressionfor ^^^^ ^^-jj^^ ^-^[s instinct and help the 

the young ^ 

child. children to see relation between the 

thought expressed in words and the act as con- 
structed. A chance for additional expression is 
through the medium of pencil or crayon. Hand- 
work, then, should mean for the child interpretation 



24 DOMESTIC AET 

of this social life through the mediums of form, 
color, and materials. 

Because of the above natural instincts of little 
children, we must, in planning our work, utilize them 
to best advantage in order to make hand-work a 
vital part in education. 

Owing to the reasons given above, the constructive 

work of the later kindergarten and first grade should 

be related to the child's home life. 

Early grade 

work to relate This wiU neccssarily vary with locality 
and environment. The central thought 
of mother, family, household activities may be the 
starting-point for nearly all. If the children under 
consideration are those in a small village, the inter- 
ests following the home would be those of village 
life, construction in relation to the farm and agri- 
cultural life, the village blacksmith, store, church, 
etc. By the time he reaches the second or third 
grade and his own surroundings have in a degree 
been interpreted, he may be introduced to the lives 
of other little children and primitive people and their 
methods of securing food, shelter, and clothing, 
which have come to him so easily. In later years, 
after comparisons have been drawn, he may be 
led from the knowledge of rural life to that of the 



THE NECESSITY FOR STUDY OF THE PUPIL 25 

industrial life of city, state, and national affairs, in 
order that he may understand something of their 
complexity and his relation to it. By the time the 
high school period is reached, the relation of trade 
and industry may be understood and the child have 
some knowledge of the relationships existing in them 
and of the obligation resting upon him to share in 
the activity. 

If the locality of the city child is the starting-point 
in planning, the construction of things in relation 
, ,. , to home interests may aerain be the 

Locality and •' ° 

environment centre, and the radiation from them into 

affect the 

course of the field of interests nearest akin to the 

^ ^ ^' life of rich or poor child. The compari- 

son of present life as the child knov^s it with that of 
more primitive people, the different stages of hunting, 
fishing, and agricultural development, in some locali- 
ties must necessarily be postponed a little later than 
the second grade, until the children are ready for it. 
There can be no hard and fast rules in relation to the 
general course of study or particular relation of hand- 
work to it. 

The real spirit of work or construction as work 
does not begin until about the twelfth year of the 
child's life. Then the industrial work may be closely 



26 DOMESTIC ART 

related to the particular trade or industry of a lo- 
cality. With the young children one must keep in 
Main aim with ^^^^ the idea that finished products of 
the young -Qj^g technique are not the end and aim 

child IS train- ^ 

ing- in view. It is the child's development 

Results ex- 
pected to be first and foremost and one must expect 

rather crude results. Owing to the physi- 
cal growth and peculiar nervous development of chil- 
dren, a large variety of materials for constructive work 
should be used, and only those which excite to broad 
action in which no details of perfection are required. 
In the use of these materials and processes there 
must be adjustment to the mental and physical 
capacities of the child. 

As Dr. Dewey says, the school should represent to 
the child the real life of society. It should be a 
miniature community because an individual can 
have no life apart from society and he can realize 
his aims best by making them accord with the desires 
of society in general. The work of education in the 
school, therefore, whether through hand-work or 
otherwise, is to help the child to see his relation to 
the whole. All the possessions of the race are to be 
bestowed upon the individual so that he may carry 



THE NECESSITY FOR STUDY OF THE PUPIL 27 

them forward with the additional thought and prog- 
ress of his times. Here, also, he is to glance ahead 
into the future and to learn to take his place among 
the men of real life. Here he must learn justice, 
order, and co-operation; he must develop inde- 
pendence of action which shall later become leader- 
ship. 

Because the child is a social being and the school 
is to be made his little world, attention should be 
Value of group given to group work. Through it the 

workindevel- ^j^jj^ ^^^.^^^ ^^ ^^^^ ^j^j^ ^^j^^j. ^^ 
opment of the ' 

child. respect and adapt himself to various 

interests and natures and to work for a common 
good or whole. "The mere absorption of facts or 
truths is so expressly individual an affair, that it 
tends very naturally to selfishness. When children 
are engaged in active work, helping others, it sets 
free the powers of the one who gives and is an in- 
centive to the one helped." While the individual 
parts mean much to each child as his contribution 
or help toward the whole, it is the whole result 
which is of value to the little community because 
of the co-operative spirit expended in bringing them 
together. This combination of interests has been 
happily called orchestration, and surely it reaches 



28 DOMESTIC ART 

that where the work is the expression of joy, and 
good will and sweet harmony are the result. 

If, then, through group work and individual con- 
structive work the child is made to feel that he is 
really a part of society in his little world, and is given 
an insight into the culture of the race possessions and 
industrial development and a foresight as he works 
with others, surely this work may be said to con- 
tribute its share in the vital education of the child. 

The task before the teacher is one of great respon- 
sibility. We are to make this hand-work one means 
of developing the child in the fullest possible manner. 

During the early grades, the child is not able to 
make the fine adjustments which are required for 
fine sewing — one expects crude results, but by the 
time the fifth grade is reached the teacher should 
demand more accurate work and greater neatness. 
Very often teachers neglect to do so and the result 
is that slovenly habits of action are formed. 

It is during the period from eight to fourteen 
years of age that the teacher of domes- 

Close contact •' ^ 

between tic art has an unusual opportunity, be- 

teacher and 

girl a factor in causc of her close contact with the 

development. • i . i i i i .i • • i 

girls, to help develop their social con- 
sciousness and is able to suggest opportunities of 



THE NECESSITY FOR STUDY OF THE PUPIL 29 

thinking about and helping others in a practical way. 
It is during this period too that supplementary talks 
on clothing, hygiene, appropriateness of dress are of 
particular value — and make much impression. It is 
the period when the inner life of the girl is con- 
cealed from others and is so often fraught with 
many dangers. The teacher of domestic art has 
many responsibilities here, for comparatively few 
girls pass beyond the elementary school education, 
so that the time is limited in which much must be 
accomplished if the teacher would be of the greatest 
possible aid. 

As the girl enters upon the age of adolescence, the 
teacher should understand this period of girlhood 
Physical and not only adapt her work to it, but 

the7eriod"f ^ ^^^^ ^^^ ^^st of the expressions of this 
adolescence, period of development. It is the time of 
abrupt bodily transitions, the girl is restless, is grow- 
ing rapidly and needs plenty of rest, and exercis^, 
proper food and clothing. The teacher of domes- 
tic art should be alive to these things, and the girl 
should not be overtaxed nervously nor the eyesight 
strained. It is often possible for the domestic-art 
teacher to discover defects of eyesight that may not 
have been noticed by any one else. Because of the 



30 DOMESTIC ART 

intimacy of relationship between teacher and pupils, 
the hopes, ambitions, needs of the girls are expressed 
to the teacher, so that opportunity is afforded to 
guide them perhaps in choosing their life work. As- 
sistance may often be given which will affect the 
whole life trend of the girl, for this is the period of 
intense ambition for her own life, either in respect to 
marriage, self-support, or even socially in the school 
or community. It is the age of interest in manual 
training, when the development of the muscles gives 
strength for the control and use of tools. The most 
important service the domestic-art teacher can render 
during this period is to instruct the girls in the im- 
portance of proper clothing and food as the foun- 
dations of good health. This aspect of the work 
also emphasizes the principles of domestic science. 
During this adolescent period, the domestic-art 
teacher should be conscious of the mental changes 
Mental ^f her pupils. She will be aware of a cer- 

changes. ^^^^ increase of vigor of mind and open- 

mindedness as it were. It is the time of the develop- 
ment of the reason and judgment and should not be 
hampered by too much memorizing. There is every 
opportunity for developing judgment in the domestic- 
art work — and the teacher may soon learn whether 



THE NECESSITY FOR STUDY OF THE PUPIL 31 

the service is of the lips or based on individual grasp 
of the problem. Girls are often lazy and are content 
to accept subject-matter which is given to them 
without question, whereas a boy would wish to 
know *Hhe why." Generally the girl is alert, bright, 
and interested in things — and the teacher should 
utilize this interest in organized activity. This is the 
period when girls are apt to worry over their prob- 
lems and to have little patience with the minute, 
exact, methodical. It is also the period of certain 
emotional development, and consequently it often 
happens that the young teacher with a happy, 
spontaneous nature is more apt to be successful 
with girls of high school age than an older person 
perhaps better trained and more experienced in 
technique. This is the period of storm and stress, 
of excitements, ambitions, hopes — religious doubts 
and introspections, sex impulses, and the adoration 
of teachers and friends. All these impulses must be 
understood by the domestic-art teacher if she will 
deal wisely with the girls under her care. It is the 
period of great responsiveness to all stimuli whether 
right or wrong, the period of development of self- 
conceit and superior airs, and that welcomes new, 
radical, or even revolutionary thoughts. There can 



32 DOMESTIC ART 

be no more important field than this for the domestic- 
art teacher, and comparatively few teachers plan 
with foresight to make the lessons with the girls of 
this age really tell. It is the time when true impres- 
sions can be made and a responsibility and social 
conscience awakened that will have a lasting value. 
The close contact of the domestic-art teacher makes 
it possible for her to give instruction which will 
train for character and the development of intelli- 
gent and independent women who will be the back- 
bone and safeguard of our nation. 

There will probably be many discouragements for 
the teacher during this period. It will be necessary 
to have faith and to await results which may be long 
in appearing. Mr. Stanley Hall says that at this 
period the soul is so sensitized that nothing is lost. 
It is the period of insight and receptivity — and the 
harvest will surely come — the mental life is becoming 
organized and permanently fixed and there is a power 
of apprehension and appreciation which is far beyond 
the ability of the girl of this period to express. 

It is a big problem and one of great responsibility 
for the teacher of domestic art to know when and 
where to help to strengthen, to direct or inhibit the 
various impulses of this critical period of womanhood. 



THE NECESSITY FOR STUDY OF THE PUPIL S3 

References for Study 

"The Child and the Curriculum," Dewey. 
"The Educative Process," Bagley. 
"Notes on Child Study," Thorndike. 
"Adolescence," G. S. Hall. 
"The Meaning of Education," Butler. 
"School and Society," Dewey. 



CHAPTER IV 

PROBLEMS CONNECTED WITH THE PRESENTA- 
TATION OF DOMESTIC-ART SUBJECTS. 

It has been said that teachers are born, not made. 
Not every one who understands the technical work 
of the field of domestic art is able to present it — 
even in some cases after much training. Neverthe- 
less a conscientious study of the child or person to 
be taught and an intelligent understanding of the 
best methods of presentation of that subject-matter 
can but produce decidedly better results. As we 
have noted, the mass of subject-matter which we call 
domestic art is so very broad that it is not possible 
to present all the phases of it to the children in the 
elementary or high schools. Special discussions of 
curricula for various types of schools will follow, in 
other chapters, but it is the purpose of this to sug- 
gest the best way to present different phases of the 
domestic-art work and to leave the selection of 
subjects for later discussion. One must keep con- 
stantly in mind the person or child to be taught, 

34 



PRESENTATION OF SUBJECTS 35 

and the subject-matter and method should be that 
which will be of most value ethically, practically, 
and intellectually to the pupil. 

The writer has visited many domestic-art classes 

and has found poorer presentation of the subjects 

than in almost any other field of work. 

Individual 

versus class Very oftcu the teacher is not prepared 

instruction. , i i i i z,^ 

and suggests to the class that they go 
on with their work." This means that the teacher 
will often pass among her pupils and instruct indi- 
vidually, but gives no thought or time to class dis- 
cussions, in which the uncertain things are made 
plain and a real thought content developed. Class 
discussion previous to beginning work is an economy 
of time. It enables the pupils to begin together and 
many of them to proceed without much help from 
the teacher. This is of much assistance if the class 
numbers forty or fifty, for then it is a physical impos- 
sibility for the teacher to direct each worker. When 
it so happens that the pupils are working on under- 
garments or dresses, individual instruction is neces- 
sary and the classes are usually smaller, but even then 
there should be supplementary talks, or questions in 
connection with the work, of vital importance to all 
and that will give the work a real thought content. 



36 DOMESTIC ART 

No teacher of domestic art, or any subject in fact, 
should approach her class without some definite plan 
The teacher's ^^ action in mind. Much time is wasted 
preparation. j^^ ^j^jg g^^j ^^ teaching bccausc of lack 

of clearly defined ideas on the part of the teacher, 
and lessons are conducted in a haphazard way 
which could have been brought to the point had 
time been given to thoughtful preparation. A 
special chapter will be devoted to the subject of 
lesson planning and the thought involved in correct 
presentation of this subject. 

Every detail of preparation in the way of materials 
for illustration should be arranged before the hour 
for the lesson arrives. The failure to have at hand 
a demonstration model or tools may often mar the 
effect of an otherwise good lesson. 

There are many children who see things with 
their eyes only and to whom a spoken word in rela- 
iiiustration tion to direction means very little. For 
of lessons. g^^j^ ^j^^ actual demonstration on the 

frame or cloth is of greatest value. It is not neces- 
sary to have a regular store frame — a piece of un- 
bleached muslin attached to the blackboard frame 
with thumb tacks will answer every purpose. A 
large darning needle and red or black Germantown 



PRESENTATION OF SUBJECTS 37 

yarn complete the outfit. The stitches should be 
large enough for all to see without difficulty. The 
blackboard is also a valuable adjunct and should 
supplement the demonstration frame. The teacher 
of domestic art should be ready to illustrate as she 
talks and to represent the stitches with needle in 
position if it is a sewing lesson, or to outline the 
points made in discussion of other subjects. Lessons 
may also be illustrated by pictures, when talks on 
textile and household art subjects are given, and by 
collections of other exhibits when materials, etc., 
may have been discussed. Trips to museums sup- 
plement these as another avenue of illustration. It is 
always well to have illustrations of completed articles 
in which the stitch or lesson to be taught is plainly 
emphasized so that additional application for use 
may be really seen as well as discussed in class. 
Every complete domestic-art laboratory should have 
some cases for illustrations, not only of completed 
articles that have been made in class, but for studies 
of ethnological subjects in connection with the field 
of domestic art. Basketry, pottery, weaving, primi- 
tive spindles and looms, laces, embroideries, study 
of historic costume, all help to illustrate the talks 
and interest the pupils in this field of work. An 



38 DOMESTIC ART 

industrial exhibit is also of great value, showing 
the processes of thread-making, needles, buttons, 
and preparation of all the raw textile fibres. Some 
of these may be obtained from the United States 
Government, and there are also certain textile manu- 
facturers that are willing to furnish well-mounted 
boxes of specimens for a small consideration. Col- 
lections of materials, laces, muslins, etc., with their 
respective values, names, and prices, will also be 
found of great assistance. 

The domestic-art teacher should be constantly on 
the lookout for pictures and clippings which will 
assist her in illustration. These may be mounted, 
filed, catalogued, and kept for reference, and are 
almost invaluable. The current magazines furnish 
much material. Inexpensive pictures are often found 
relating to subjects in this field and may be framed 
and hung in the laboratory if a special room is 
devoted to this work. The bulletin-board is of much 
value in this connection for clippings and pictures; 
mottoes and suggestions may be mounted tempora- 
rily there. This may all be in charge of the stu- 
dents from week to week, for change and filing. 

The relation of the textile field to the elementary 
or high school curriculum will be shown later in 



PRESENTATION OF SUBJECTS 39 

discussing courses of study, but certain hints for 
presentation may be given here. There are so 
Suggestions niany phases of this work that the op- 
tatiot^ortTx-"^" portunity is almost Hmitless. Weaving 
tile work. jji^y be givcn on small looms as individ- 

ual problems in the lower grades of the elementary 
school and is often begun, in the kindergarten. 
Dyeing of materials may be done in this connection. 
In the fourth or fifth grades weaving may be given on 
individual looms and the results joined, forming a 
rug or textile of value in house-furnishing problems. 
Later in high school, or even before, opportunity 
may be given for co-operative problems on the 
colonial type of loom. Weaving is often "overdone," 
especially in the lower grades. As one line of indus- 
trial study it is of interest and value, but little chil- 
dren need variety of work and the subjects are so 
numerous and can with foresight be so grouped as 
to develop thought in relation to the various fields of 
industry that there is no excuse for confining the 
work to this one subject. The reason is apparently 
lack of willingness on the part of the teacher to 
exert herself or an absence of originality in her 
scheme of work. Charts will be found of much 
value in teaching textile work. These may represent 



40 DOMESTIC ART 

many phases of textile study and may be made by 
every child in the class and the discussions given as 
class lessons. Comparison of the four leading tex- 
tiles makes an interesting study. Such charts may be 
used as early as the third grade, and supplementary 
talks make them of great value. These may show 
the four samples pasted on a card with the names 
written above each. Samples of yarn may be pasted 
below the cloth for comparison. 

Children are interested in cutting out paper dolls 
from magazines. A picture of a girl or boy may be 
mounted on the chart or card, and lists of the four 
textiles in which she is presumably dressed written 
in the four corners of the card. Opposite each gar- 
ment named may be pasted a sample. These will 
show the complete outfit of the child. The children 
should be free to select their samples from boxes of 
scraps arranged by the teacher in convenient places. 
Charts illustrating the problem of dress and its cost 
are also helpful. A teacher with ingenuity may 
insert any variety of these problems. The field is 
rich for showing the processes of modern manufact- 
ure, the properties, dyeing, cleansing, and shrinking 
of materials. 

Books of textile samples will be found of much 



PRESENTATION OF SUBJECTS 41 

help in either elementary or high school. The teacher 
may supply books for each textile and plan the clas- 
sification. The samples, with widths and prices, may 
be mounted by the children as contributed. 

In connection with history and geography the 
interest in textile work will be much increased by 
study and presentation by the children of informal 
lectures on the evolution of the various industries 
connected with clothing and shelter. If these are 
supplemented with a stereopticon, the interest of the 
little lecturers knows no bounds. 

Of late years there has been much discussion in 

normal domestic-art circles as to the use of drafting 

in elementary and high schools. The 

The use of ^ ^ ^ 

drafting and simple drafting of shirtwaist, kimono, 
and small petticoat is often given in 
the elementary school, and very often in the high 
school one finds quite elaborate systems being used. 
The writer believes that there is a certain value 
in it all, but as a rule it is very slight. The be- 
ginning of this line of work and thought may be 
as early as the fourth or fifth grade of the elementary 
school, where free-hand cutting of paper dolls' 
clothes gives an insight in a simple way into the 
relation between line and figure. This is of great 



42 DOMESTIC ART 

value to the child. The work is free, never stereo- 
typed, and these small paper garments may be basted 
together or real material made into garments using 
the paper patterns. There is so much to be crowded 
into the domestic-art work of the elementary school 
that the writer believes it much better in nearly 
every locality and under varying conditions for the 
use of commercial patterns to be taught in the 
upper grades rather than any form of drafting. If 
girls can be taught to cut out garments easily and 
correctly and make simple alterations of patterns, 
much has been gained. In the ordinary high school, 
either manual training, or classical, where some 
domestic-art work is given, some simple drafting and 
pattern modelling in crinoline is advisable. The 
simple modelling should precede the drafting, so that 
the lines of the pattern in relation to figure may be 
learned. With these relationships in mind, drafting 
will be quite intelligible and enables the girl to put 
it to practical use later. If this work is combined 
the student will have an excellent idea of the mak- 
ing of real patterns and be able to originate and 
plan for simple gowns in crinoline as a pattern, 
thus learning an additional method and one which is 
more full and natural. 



PRESENTATION OF SUBJECTS 43 

In technical and trade schools it is often advisable 
that the students study some regular system of 
drafting and have quite a good deal of experience in 
making patterns by both of the above methods. 
This work should be more advanced than that 
given in the other types of secondary schools men- 
tioned. 

The greatest error in the teaching of drafting is 

the stereotyped dictation method by v^hich it is 

often presented. This may not be an 

Errors in 

teaching draft- error where older students with limited 

ing of patterns. 

time and familiar with such work are 
receiving instruction, but in either elementary or 
secondary schools where the training of the girls is 
being considered and drafting is being presented for 
the first time this method of approach is certainly 
wrong. The children may actually work it out as 
they would a puzzle, but there is no real connection 
of line with the idea of human form and the girls 
are not being taught to think for themselves. This 
criticism is especially true of high school teaching. 
It is possible, however, by a simple developmental 
method to make the girls think, and to have them 
understand before they begin to draft the necessity 
of certain lines, the relation of one line to another, 



44 DOMESTIC ART 

their relation to the human form, and the possibili- 
ties of change to suit the different figures and styles. 
The value of crinoline modelling as a prerequisite 
will be seen. Even unbleached muslin may be used 
in this connection to advantage, and the modelling 
done on one another in class. This method of 
presentation may be accomplished by questioning 
on the part of the teacher, who must be alert and 
skilful in order to present her lesson successfully in 
this way. There is no comparison as far as results 
are concerned, for the girls gain a thorough mastery 
of the subject because it is the result of their own 
thought and can be used later instead of filed in 
note-books. 

It is often a debatable question whether machine 
work should be given to girls between ten and fifteen 
Machine work Y^ars of age. This the writer feels must 
in schools. ^g jg£^ ^Q ^^^ decision of the teacher of 

each group. If the teacher of domestic art knows 
that the girls in her classes in the elementary school 
are so conditioned that they must go to work 
often before the work of the grades is finished, she 
will feel the necessity of introducing machine work 
early in order that this knowledge, which is of so 
much help, may be gained before the girl leaves 



PRESENTATION OF SUBJECTS 45 

school. The teacher must be the judge as to whether 
there is any physical reason why a girl should not 
run the machine. As a rule, the short period de- 
voted to this kind of work is quite harmless and the 
girls thoroughly enjoy it. In trade schools where 
the girls may be more closely confined at this kind of 
work, the teacher should be more careful and watch- 
ful. As a rule, the high school is the place where the 
use of machines should be begun, but in many 
localities it is necessary to begin it as early as the 
sixth grade. If the girls of a certain school in a cer- 
tain locality cannot remain after fourteen years of 
age, this work should be included as one of the 
domestic-art subjects of value for the school in this 
locality and should be considered by the domestic- 
art teacher as subject-matter for her consideration 
and selection. 

Machine work should be begun on simple articles 
which will give practice in straight stitching, and use 
of the simple attachments, before more advanced 
garment-making is done. Aprons, bags, cases of 
various kinds, covers, pillow-cases, etc., are all 
simple and offer opportunity for practice. 

The writer has noticed much time wasted in 
classes doing machine work. This is nearly always 



46 DOMESTIC ART 

due to lack of thought and good management on the 
part of the teacher. She should plan carefully to 
have the machines always in use and so arrange 
that some of the class are sewing by hand in prepara- 
tion for machine work while others are at the 
machines. An exchange can be made as occasion 
arises, and in this way no time is lost. 

There is a difference of opinion between teachers 
as to the advisability of using single- or double- 
thread machines with beginners. The writer finds 
the single thread of value during the early process of 
learning because it is easily ripped, but difficult to 
handle because of the necessity for stitching on the 
right side of the garment. As it is not possible to 
have two sets of machines, the writer believes that a 
light-running double-thread machine will prove the 
most satisfactory in the long run. 

Millinery and embroidery are subjects which may 
be taught in either the elementary or high school 
Millinery and ^^^ ^^^7 be Continued in trade or 
embroidery. technical schools or classes. The work 
given in the grades must be quite elementary in 
character. The children may buy their own frames 
or hats to be trimmed, or even prepare them from 
braided raffia. Simple lessons in bow-making may 



PRESENTATION OF SUBJECTS 47 

also be given. The domestic-art teacher of each 
school, however, must decide v^hether there is time 
to include millinery in her course and whether it 
will be of value to her group of girls to have it, 
rather than some other line of domestic-art work. 
Expert millinery and trimming should not be ex- 
pected from young girls. Even in trade and tech- 
nical schools the trimming is an art which may be 
demonstrated by an expert trimmer, but it seldom 
happens that girls under twenty are proficient in 
this line or have learned the fundamental technique 
which would enable them to be good trimmers. 
This branch of the work requires experts where 
the work is done for trade purposes; it seems 
almost innate and can seldom be taught. 

The high school work in millinery may include the 
making and covering of all kinds of hats; frame- 
making, trimming, and renovating. The lessons 
should be illustrated by blackboard drawings, pict- 
ures from magazines, and demonstrations. Visits 
to shops are of value in this connection for study of 
styles. The type of school will determine how much 
of this work should be given and whether this or 
some other domestic-art subject is of greatest value 
to the girl in the limited time allowed. 



48 DOMESTIC ART 

Simple embroidery may also be given in the 
grades. In the lower grades this may be in the 
use of overcasting, blanket stitch, and others, as a 
means of decoration on coarse burlap pillows, table 
covers, etc.; or in the upper grades, outline, cross, 
chain, Kensington, darning, satin stitch may all be 
applied on articles which will be of interest to the 
pupils. Design work given by the art instructor 
should be closely in touch here, as well as in high 
school, where more advanced embroidery may be 
given if time permits and it seems of most worth 
to the group of girls considered. There is always 
interest in this class of work, and it may be presented 
all along the way either as supplementary work or 
to introduce variety into the course. Needlebook 
covers, pin-cushions, tray covers, table scarfs, pil- 
low tops, embroidery of table linen and towels, are 
simply the beginning of a long list. In high school — 
lingerie hats, shirtwaists, collars, ties, stocks, gradu- 
ating gowns, may be ornamented with simple em- 
broidery. The demonstration frame will be found 
of use in illustrating the various stitches. It is well 
for the teacher to collect samples of embroidery and 
to have as many articles as possible showing the 
application. 



PRESENTATION OF SUBJECTS 49 

It is not necessary to wait until pupils are of high 

school age before introducing problems in furnishing 

and decoration. As early as the first 

Problems in ^ ^ ^ ^ 

household grade, it is possible to begin with simple 
suggestions in the relation of line to 
space, color combinations, wall coverings, etc., ap- 
plied to the fitting up of small houses or rooms 
made from soap-boxes, if nothing else is available. 

A very interesting problem is one in which the 
whole elementary school may have a share. A room 
should be chosen, if available, and furnished by the 
different grades. Rugs may be made by some — 
co-operatively — couch cover, window curtains — sim- 
ple hangings, pillows, table covers, and baskets, etc., 
may be added by different classes. If space allows 
and a suite of rooms can be furnished and actually 
used by instructors or others, it will be of inestimable 
value. 

In many towns or cities by co-operating with large 
departmental stores or even smaller ones it may be 
possible to secure loan exhibits of furniture, hang- 
ings, or house furnishings which if well arranged 
will be of great value to the pupils. In some schools 
simple lessons in upholstery may be given with 
excellent results. Talks on hygienic furnishing 



50 DOMESTIC ART 

should accompany the working out of all these 
problems. Charts illustrating interiors make an 
interesting variation of domestic-art work. Chairs, 
tables, etc., may be cut from catalogues and ar- 
ranged on cardboards. Color schemes of interiors 
may be furnished and plans made for the wall, floor, 
and covering of ceiling. With older girls in high 
school it is possible to sketch interiors and to color 
them with water-colors. It is often possible to secure 
drummers' sample designs for furniture, when some- 
what old-fashioned, and these may be utilized in the 
chart work. The furniture houses are quite willing 
to dispose of them. A model suite of rooms is of 
great assistance in a high school, but it is to be 
hoped that all the interiors of the high school class- 
rooms, halls, and offices may be as attractive as 
possible. The proper placing of pictures, casts, and 
plants cannot help having an effect on the general 
atmosphere of the school. Loan exhibits of pictures, 
school work, etc., are also of help. The high school 
course in house furnishing may be made very inter- 
esting by interspersing the talks with hand-work, 
either the making of charts and color schemes as sug- 
gested or the weaving and embroidering of pillows, 
covers, or other house furnishings. The importance 



PRESENTATION OF SUBJECTS 5 1 

of the simplicity of furnishing, the planning with 
reference to use, adaptability, and economy of time, 
energy, and money, the true home atmosphere and 
the relation of furnishing to it should all be brought 
out in the talks or discussions. Books and pictures 
will be found of much help in a course of this kind. 
Lessons in design should go hand in hand with 
domestic-art work, and all teachers of domestic art 
should have a good course in design be- 

Design as part 

of domestic yond whatever study of art and drawing 
general education may have provided. 
If there is an art instructor in the school, the do- 
mestic-art teacher should have her co-operation 
and the two work together in order that unity of 
action may be the result. Designs for all the 
domestic-art problems may be worked out in this 
way. Paper dolls and their coloring, dressing, sim- 
ple interiors — all may come under the direction of 
the art supervisor and in the elementary as well as 
high school should go hand in hand with domestic- 
art problems and the two be worked out in harmony. 
The interest in the art work is much more keen when 
this definite relationship is seen and understood. 

One of the most important subjects for growing 
girls is a knowledge and close acquaintance with the 



52 DOMESTIC ART 

laws governing health. The influence of proper 
food and clothing on health cannot be overesti- 
„ . . ^ mated. It is part of the domestic-art 

Repairing and ^ 

hygiene of teacher' s privilege to give talks as sup- 

clo thing as 

part of this plcmcntary work while teaching the 

fisld of work 

technique of sewing, or to have definite 
periods devoted to the discussion of this subject. 
This work should be given in a very simple way in 
the elementary school, but in the secondary schools 
tests in relation to materials, their strength, warmth, 
texture, shrinkage, and cleanliness, may be worked 
out in the laboratory and be of particular value. 
The talks for either elementary or secondary work 
should cover such subjects as the following: — The 
care of the body, cleanliness and use of underwear, 
the brushing of garments, care of the feet, proper 
footwear, dressing of the hair, proper hats, the 
storage of clothing, etc.; many of these may be 
illustrated by demonstrations. 

The question of how and when to teach rep^ring 
is a much disputed one. As a rule, in many schools 
the subject is disliked by the girls and there is a loss 
of interest when repair lessons are announced. This 
lack of interest need not necessarily follow, and the 
success of such work will depend on the ingenuity, 



PRESENTATION OF SUBJECTS 53 

skill, and tact of the teacher. Perhaps a clever way 
to present the repair work is between problems of 
greater interest — just before Christmas gifts or some 
other application of vital importance. Simple patch- 
ing, darning of stockings, and darning of simple 
rents in woollen or linen materials may be given in 
the fifth, sixth, seventh, or eighth grades. If pos- 
sible it is best to begin repair at once on the stocking 
or garment, but if such things are not available 
scraps of stockinet or cashmere must suffice. By 
canvassing among the teachers of a school or impress- 
ing the children with the necessity of bringing the 
necessary stockings from home it is quite possible to 
have a direct application of the repairing. Repair- 
ing which necessitates a knowledge of the construc- 
tion of garments is a part of high school work, and 
rebinding of skirts, replacing worn collars or cuffs, 
patching, replacing parts of worn sleeves, are too dif- 
ficult to be given to children of elementary school age, 
for they require good judgment, skill, and technical 
knowledge of garment -making for proper execution. 
The yearly festivals are always of interest to the 
Christmas children, and the more nearly it is pos- 
^"^' sible for the domestic-art teacher to re- 

late her work to their life interests, the more effective 



54 DOMESTIC ART 

will be the results. Simple Christmas gifts may be 
prepared by children of every grade. They should 
be simple, appropriate, artistic, and adapted to the 
use of the little giver. The time devoted to the mak- 
ing of these may be a part of the regular sewing pro- 
gramme each year, or it may be given as extra work 
for those who finish ahead of their class-mates. 

The Christmas season is often a happy time for 
informal exhibits of the work of the children; the 
parents may be invited, and a real social feature 
made of this part of the work. The annual exhibit 
may be more formal, but the Christmas party may 
show the progress of the fall term of work and be 
an incentive to many of the children. The rooms 
and blackboards may be decorated by the children, 
and the domestic-art laboratory may becom.e a centre 
of school interest and spirit. If a special room is not 
set aside for this work, then the principal of the school 
may be willing to designate a certain room or space 
for this particular feature of the life of the school. 

"A place for everything and everything in its 
place" is a very erood ereneral rule 

Care of sup- ^ ./ o o 

plies saves with which to Start. The work bags or 
boxes of the children should be care- 
fully labelled and kept in a conveniently located 



PRESENTATION OE SUBJECTS 55 

place, if possible. Extra supplies and materials 
should be so classilSed and labelled that they may be 
found with ease. A system of noting when supplies 
are low will guard against a general skirmishing 
about at the eleventh hour for a particular kind of 
machine needle or a certain number of thread, and 
the consequent loss of time involved. 

If the teacher has a special room for her work, 
she should have the supplies most often used and 
such materials as she may need for demonstration 
conveniently at hand. If as supervisor she must 
travel from room to room in the school, a box for her 
use may be kept in each room, or one supplied with 
the few things she is most likely to need carried from 
class to class. The demonstration cloth mentioned 
above will be found an almost indispensable addi- 
tion to this box for the quick demonstration of the 
method of making stitches. This cloth may be 
mounted in the frames for such purpose or easily 
adjusted with thumb tacks to the wooden frame of 
a wall map and the height so regulated for the use 
of children as well as teacher. In demonstrating on 
this cloth the stitches should be very large so the 
children at the back of the room may have no diffi- 
culty in seeing. This is of help, for the teacher is 



5^ DOMESTIC ART 

spared the necessity of giving so much individual 
attention later and time is thus saved for other more 
important work. 

References for Study 

"Textiles and Clothing," Watson. 

"How We are Clothed," Chamberlain. 

"A Sewing Course," Woolman. 

" Occupations for Little Fingers," Sage and Cooley. 

"School Needlework," Hapgood. 

"Domestic Art Review," February and April, 1909. 



CHAPTER V 

THE STUDY INVOLVED IN PLANNING A 

DOMESTIC-ART LESSON OR SERIES 

OF LESSONS 

From previous discussion, we have discovered that 
it is absolutely essential for the teacher of domestic 
art to know thoroughly her technical subjects. It 
is also quite as important for her to understand the 
child or pupil before her, and it is again as truly 
necessary that she should have some definite plan 
of action in mind when she brings that subject- 
matter to the pupils, in order that the best results 
may be obtained with the greatest economy of time. 

Much discussion might be given to the best method 
of presenting the domestic-art subjects, but they are 
so varied, as well as the conditions governing them, 
that it must be left to the individual teacher to 
present the type of lesson which is best adapted to 
the needs of her pupils, their environment, aims, 
etc., as well as the subject under consideration. It 
may be best to enumerate the various types, and 

57 



58 DOMESTIC ART 

illustrate later the inductive-deductive form most 
often used, although not exclusively, in teaching 
domestic art in the elementary and secondary 
schools. 

The use of the lecture method is well known. It 
is dangerous if used entirely with young people, 

1. The lecture bccause the thinking is so often done by 
method. ^^iq lecturer and there is no self-activity 
on the part of the student; he does not think and 
learn through the thinking process. It is unsafe to 
leave it as lecture without further discussion and 
illustration. The demonstration method may be a 
part of the lecture method and is simply a better 
kind of lecture, for it helps to furnish illustrations 
which make for stronger impressions. 

Text -books should be used as a side issue, or for 
supplementary reading or study, never as an end in 

2. The text- themsclvcs. They may be used as a 
book method, starting-point for introducing a subject, 
or as a supplement to the lesson presented. Before 
using the text-book, the instructor should be sure 
that the child understands the questions, and then 
he should be left to work out the answers for him- 
self. There is danger in this kind of work, for the 
pupil may do too much memorizing and fail to get 



PLANNING A DOMESTIC-ART LESSON 59 

the full meaning, unless the teacher supplements 
this with other methods of study. 

The drill lesson, is of value because it leads to 
certain definite motor and intellectual habits. A 
3 The drill ^^^^ drill, although a repetition, need not 
lesson. Y)Q monotonous, for plenty of opportu- 

nity may be given for application. Facts should be 
presented in drill as we wish them recalled, the use 
of stitches, etc. Perfect work is the result of drill, 
and much will depend on the previous method of 
association of ideas, as the work is gone over from 
the old point of view. The physical as well as 
mental side of drill lessons should be of interest to 
teachers of domestic art. Habits are formed by 
trial and success method, by imitation, and through 
new ideas told the child. We learn most through 
imitation and this method is not to be despised. 
The teacher must consider too, in this type of lesson, 
the pleasurable element, for it is of importance if 
good habits are to be formed. 

The aim of the review lesson is to recall old 
habits that have been formed by drill lessons, or by 
4. Review reasoning, but to recall them perhaps 
lesson. from ncw view-points. This broadens 

the outlook. From these new stand-points it is 



6o DOMESTIC ART 

possible to apply the knowledge gained to new situ- 
ations. 

By deductive method is meant that way of pre- 
senting a lesson, which gives first, the rule to be 

5. Thededuc- learned, illustrates this rule, and then 
tive method, gxpects the pupils to make direct ap- 
plication. The procedure is from a general state- 
ment to a particular application until proficiency is 
gained. Care must be taken in presenting any sub- 
ject by this method that the class is ready for the 
step or abstract statement when it is presented. 
Variations of the rule cause thought and lead to a 
better understanding, but the discussions of the class 
should illustrate why they fall under different heads. 

By the inductive method is meant the general pro- 
cedure through reasoning from individual notions to 

6. The indue- generalizations. The reader is referred 
tive method. ^^ j)^ McMurray's book on "The 

Method of the Recitation," where the five formal 
steps are discussed at length. By the first step of 
preparation is meant the clearing of the ground, as 
it were, for the new truth to be presented. It is the 
conversation or questioning which leads to the point 
of contact between the ideas which are the child's, 
and the new thought to be presented. The teacher 



PLANNING A DOMESTIC-ART LESSON 6l 

is discovering what is the apperceptive mass of the 
pupil before her and how far back she must begin in 
order to make the new truth plain. There may be 
many avenues of approach in preparing to present 
the new lesson. New facts are not introduced in 
this step, but old experiences recalled, which prepare 
the pupil's mind for the new experiences to follow. 
Between this and the second step of presentation 
there must be close connection. The questions must 
be clear, interesting, and definite, and such as will 
arouse thought. They must follow, too, in close 
sequence. There must be a definite aim in mind 
for presentation, an aim for the child as well as for 
the teacher, whose aim is naturally broader but 
includes that of the child. The child's aim should 
be made plain, so that he starts out with a definite 
plan in mind. The more realistic the teacher can 
make this the better. The teacher must keep in 
mind also the doctrine of interest and make the sub- 
ject vital and arousing. The illustrative material 
will naturally depend on the subject and age of the 
child, but should be varied so as to appeal to as many 
senses as possible. The aim of the lesson to be 
presented should be constantly in the teacher's mind, 
and she should not be swerved from this purpose 



62 DOMESTIC ART 

unless it seems wise in developing her subject to 
change. This may be due to a discovery that her 
class is not quite ready for the new thought. The 
teacher should be quick, alert, and ready to adapt 
herself to any change in method of procedure when 
necessary. The main or ^^ pivotal questions" in the 
new lesson should be firmly in mind, so that should 
there be a digression it may be possible to return 
easily to the course of procedure. 

Comparison need not necessarily be made in each 
lesson, although given as the third formal step. 
Generalizations are comparatively few and very 
often may not be made until after a series of lessons 
on a given subject have been presented. By gen- 
eralization is meant the review by comparison of 
individual facts, and by picking out the common 
essential characteristics, the formation of a general 
notion in relation to a particular set of ideas. This 
generalization should be given by the pupil in his 
own words and then supplemented or rounded by 
the teacher and text-book. This rounds up the 
sequence of thought, whether it be in a lesson or 
at the end of a series. The application comes as a 
test when the new generalization or concept gained 
is to be used. This, too, may come at the end of a 



PLANNING A DOMESTIG-ART LESSON 63 

lesson, and often not until the end of a series, or 
longer period of study. In domestic-art lessons the 
step of application of principles consumes much time. 
The inductive method is often objected to because 
it is too slow. Then, too, it cannot always be ap- 
plied effectively to all subjects. It is, however, one 
of the most useful methods of approach in teaching 
domestic-art subjects and is used with much success 
in combination with the deductive approach. 
General prin- There are certain general principles 

°^^lt^^^ of method, however, for the domestic- 

method to ' ' 

bear in mind, art teacher to bear in mind in planning 
her lessons. 

1. Every good lesson should be planned to begin 
with what is in the child's mind, and proceed to the 
unknown, that is, there should be some preparation 
for the second step through use of the old ideas. 
The psychologist calls this general principle the law 
of apperception. 

2. There should be two definite aims. First, the 
teacher's, a general topic to be taught, which means 

/that the teacher knows much more about her subject 
than she will present to the class, but she selects that 
part of her knowledge which she wishes to present 
to the children and adapts it to their needs. The 
teacher has also for her aim the developing of right 



64 DOMESTIC ART 

habits, intellectual, motor, and moral, the cultivation 
of the child's reason, and the training of his powers 
of appreciation. So we may say her aims are : con- 
crete or practical, ethical, and social. Second, the 
pupil's aim must be definite, clear, and concrete. If 
the teacher would hold the interest and attention of 
her class, she should make the problem or aim as 
attractive as possible. 

3. In selecting and adapting the subject-matter to 
be taught, the teacher will bear in mind the age of her 
pupils, their previous training, and the subject itself. 

4. Every good lesson plan should contain certain 
pivotal questions to be used in the lesson. These 
should be logical, hold the attention of the class, 
and control the reasoning powers of the pupils. 

5. The teacher should have in mind definite illus- 
trative material — the kind, how it is to be used and 
where introduced to make the lesson effective. This 
material will help to centre the attention and gain 
the interest of the class. 

6. The teacher in planning should keep in mind 
the self-activity of the child. This is to be exercised 
by him in thinking out his questions and answers — 
in thinking out his applications and in giving phys- 
ical expression by doing. 

7. There should be in nearly every lesson a sum- 
mary or review of the main points covered in the 
lesson. This should be short, concrete, and quickly 



PLANNING A DOMESTIC-ART LESSON 65 

accomplished, focussing as it were the thought of 
the hour. 

8. Whenever possible there should be some appli- 
cation of the lesson to broader fields. 

We have discussed the main points for the do- 
mestic-art teacher to keep in mind while planning, 
but how is this actually to be done? 

Young •' 

teachers Until One bccomes quite experienced it 

should write 

out their is wisc to write out each lesson quite 

fully. It will more than repay those 
who make the effort. Planning in this way is a 
benefit, for it enables the teacher to know if she 
has accomplished all she had in mind. The actual 
lesson may be compared with the plan step by step, 
and the points of discord noted. Very often the 
teacher will discover that she has improved on her 
plan. The self-criticism of a young teacher is 
bound to count as an element in her success. If the 
teacher must present the same lesson to several sec- 
tions of a class, it would be wise to try different 
methods of approach in presenting the same lesson 
and compare the results. 

Before planning the lesson of the day, the domestic- 
art teacher must have clearly in mind, if possible, 
the plan of action for the year. This will be dis- 



66 DOMESTIC ART 

cussed under courses of study for elementary and 
secondary schools. This yearly course will be made 

Outline of ^P ^^ ^ number of problems to be pre- 
seriesof les- scnted. A problem may need from one 

sons to pre- 
cede the daily to ten lessons, or more, for its com- 
pletion, and for each one of these day 
lessons a definite plan should be prepared. Before 
planning for each day it is well for the teacher to 
make a general scheme, which will give a bird's- 
eye view, as it were, of the lessons given to the 
accomplishment of that problem, or to plan the 
series of lessons so that she may be sure to group all 
the material to be presented about that series of 
lessons. By this method it is easy for her to dis- 
tribute the supplementary material throughout the 
series, and to keep constantly in mind the results 
to be accomplished. It is well, too, for the teacher 
to know what materials are to be used, the amount 
and cost per child, as well as the illustrative materi- 
als, books, and supplementary talks. 

The following scheme for the series of lessons, 
covering in a general way the work to be accom- 
plished, may be suggestive, as well as the daily 
lesson plans which follow. They will serve to 
illustrate the points made above. 



PLANNING A DOMESTIC-ART LESSON 



67 



STUDENT PLAN 

Outline for Series of Lessons 

Subject. — Cooking apron. 

School. — Elementary School, New York. Grade. — 7th. 

Age. — II to 15 years. Average age, 13 years. 

Number of Lessons. — Nine approximately — i hour each. 

Teachers^ Aims. — 

(Ethical). To develop self-reliance arising from con- 
sciousness of ability to do. 
(Social). To emphasize the importance of cleanliness 

and economy. 
(Concrete). To compass the steps necessary in the 
planning and making of a cooking apron. 
Pupils' Aim. — 
To cut and make a cooking apron neatly by machine. 

Finished apron. 

Samples of material suitable for aprons. 
Samples of bleached and unbleached 
material. 

Hems. 



Materials 



Illustrative 



Samples showing 



Stitching. 
Gathering. 
Buttonholes. 
Sewed-on buttons. 



To be used 



Demonstration frame. 

Chalk. 

Blackboard. 

Scissors. 

Pencils. 

Thread. 

Sewing boxes containing 



Tape measure. 

Needles. 

Thimbles. 

Pins. 



Apron lawn for the aprons. 
Buttons. 



68 



DOMESTIC ART 



■ Use. 
I. Discussion of choice of material accord- Suitability, 
ing to Durability. 

[ Cost. 
II. Economical cutting. 

III. Bleaching of materials. 

IV. Making of apron. 
Subject- (a) Laying hems. 

Matter ] (b) Basting. 

(c) Stitching. 

(d) Gathering. 

(e) Stroking of gathers. 
(/) Making buttonholes. 
(g) Sewing on buttons. 

V. Kinds of aprons. 

VI. Textile talks on cotton manufacture. 
Cost per child, 25 cents. 

Note. — This subject-matter to be presented during course of lessons. Not in order 
given, but this ground to be covered as seems best in daily development of plans. 

Elementary School 

daily plan. lesson i 
Grade VII. 

Subject. — Cooking apron. 

Teachers^ Aim. — To have pupils gain an intelligent and 
economical use of material through the planning and cutting 
of a cooking apron. 

Pupils^ Aim. — To cut the apron. 



SUBJECT-M ATTER * 



Method 

Note. — Step of preparation. This 
shows the method of questioning and of 
preparation for the new facts to be pre- 
sented. It is introductory and leads to new 
work. 



Introduction. 



As you know, I have been visit- 
ing, several days, in your school- 
room. I want to speak of some- 



* This subject-matter column should show the material which the teacher has in mind 
on this subject as best fitted for the children in this particular class. This is the first 
lesson only on this subject and shows only the subject-matter for the first lesson. 



PLANNING A DOMESTIC-ART LESSON 



69 



Reference to neatness of desks. 



The kitchen another place where 
neatness is necessary. 



Cooking apron. 



To help keep the work and 
clothes of the wearer clean, 
f Color. 
Material. 
Style of making. 
Durability. 
Cost, 
according to their use. 



Aprons differ in 



thing I have noticed while there 
and that is the neatness of your 
desks. 

I was glad to see it because I 
felt that girls who had formed the 
habit of keeping their desks neat 
would be quite likely to be neat 
about other things, so I hoped 
your work in sewing would be as 
neat as your desks. 

Neatness is desirable in many 
places. It is very necessary in 
the kitchen. 

When in the kitchen we not 
only want to keep the kitchen neat, 
but want to keep ourselves neat 
also. 

What could we make in the sew- 
ing class which would help to keep 
us neat when at work in the cook- 
ing class? 

Why are aprons worn ? 

Are all aprons alike ? 

How do they differ? 



Materials suitable for cooking 
aprons — lawn, cambric, gingham, 
and calico, etc. 

An apron worn by a person 
cooking should always be clean. 

White or light colors are the 
most desirable for cooking aprons. 



Of what materials may cooking 
aprons be made? 



In what condition should the 
cooking apron always be ? 

Do you think light or dark 
colors would be best to use for 
cooking aprons? 



70 



DOMESTIC ART 



Advantages — 

(i) They show when soiled, 
therefore are not as apt to be worn 
after they become soiled. 

(2) As white soils easily the 
wearer will be more careful about 
her work. 

(3) White is more cheerful and 
looks better than a dark color. 

Cooking aprons to be made of 
apron lawn, which is 40 inches 
wide and costs 11 cents per yard. 

Other suitable materials, for 
aprons, to be collected and width 
and price noted. 



A pattern is not necessary for a 
cooking apron when the maker has 
a model, or a clear idea of the 
kind of apron desired. 



Length of 



Size of the apron — 

f Apron. 
■ Bib. 
Belt. 
Straps. 
Width of apron and bib. 
Width of belt and straps 2 
inches. 
Size of f Wide, 2 inches. 



hems 



Narrow, ^ inch. 



for 



Measures taken of person 
whom apron is being made. 

Length of skirt. 

Length of strap from waist, over 
the shoulder, and across the back. 

Size of waist. 



Why ? What are the advantages 
of white and light colors ? 



I have apron lawn for you to 
use for your aprons, but I would 
like to have you bring some sam- 
ples next Friday of materials either 
white or colored which you think 
would be suitable for aprons. 

Find out the cost and width of 
the material you select. 

Note. — Beginning of the presentation of 
the new work, the aim being to cut the 
apron. Notice method of developing ideas 
in relation to cutting. 

Let US see how many things we 
must think about in cutting out 
an apron. 

Is it necessary to have a pattern 
for a cooking apron ? 

After the material is selected 
what is the first thing that must 
be decided upon? 



How may this be determined? 
(Children to take each other's 
measures. Each child to write 
down her own measures.) 



PLANNING A DOMESTIC-ART LESSON 



71 



Cut with the warp threads run- 
ning lengthwise of the pieces. 

For strength. 

Two widths will be needed. 



Which way of the material will 
the pieces be cut? 

Why? 

Will one width be sufficient for 
the skirt of the apron? How 
many will be needed? 

Would a seam be desirable in 



Avoid a seam in the centre of 
the front by dividing one width the centre of the front ? 
lengthwise through the centre and 
sewing one-half width on each 
side of the whole width. 



How may this be avoided ? 



Two pieces for belt. 
Two pieces for straps. 
One piece for bib. 

Waist measure taken loosely, 
I inch allowed for lap and ^ inch 
for finishing. 



<- 



A 



V 



72 



<- 



-X- 



27' 



What other pieces will be 
needed ? 



How will the size of the belt be 
determined ? 

How can we cut the pieces re- 
quired from the material we have 
to the best advantage? 



-X- 



27 



> 
> 



A 

1 
8" 

1 

vj 




Centre 
Width 


Side Width 




Side Width 


Shoulder Strap 


Shoulder Strap 


Belt 


Belt 



A 



i6i", 



X 



i6f" 



X 



4V 



(Use the board for illustrating, ask children to suggest ways of 
arranging the parts.) 



72 



Begin at the straight end of the 
cloth. 



DOMESTIC ART 

Where will you begin to cut? 



Pieces to be measured, marked 
with pins, creased, and cut on 
crease. 



Compare and discuss different 
ways of arrangement if the class 
has suggested them, if not give 
only one drawing. 

Directions for work. 
Give each child a piece of lawn 
2 yards long. 
Pass scissors. 



Work- 
Measuring and cutting of pieces. 



Strip for belt. 

Two strips to go over the 
shoulder. 



Some material can be measured 
and torn, but this lawn does not 
tear satisfactorily so we will meas- 
ure it carefully, mark with pins, 
crease, and then cut on the fold. 



I would like to have you cut 

your aprons out to-day, but when 

you measure and crease a line I 

want to see it each time before it is 

cut. 

This is a statement of aim of work for 
the day. 

(i) On one side of cloth meas- 
ure a 6^" strip the entire length of 
the cloth. 

Mark with pins or pencil dots. 

Crease on places marked. 

After I have seen it, cut on the 
crease. 

(2) Measure a 2" strip off the 
6|" strip in the same manner. 

(3) Fold the 4J" strip cross-wise 
through the centre, be sure to fold 
the edges together evenly, crease 
and cut as before. 

(4) Fold and pin these three 
strips together. 

(5) From the straight end of the 
cloth measure 27'' on both edges 
and in the centre, fold on marks 
and crease, before cutting on the 
crease see that material is evenly 
folded and cut across goods along 
the even edge. 



PLANNING A DOMESTIC-ART LESSON 



73 



Middle width and piece to be 
divided.^ 

Side pieces. 



Bib. 



(6) Cut on the fold; this gives 
two pieces the same size, zf'x 

(7) Fold one of them length- 
wise through the centre, crease, 
and cut. 

(8) Pin these two pieces to the 
largest piece you have. 

(9) You have one piece left. 
How long is it ? 

(10) Measure a piece 9" long 
and 8" wide, fold, crease and cut. 
Round corners slightly at lower 
edge. 

(11) Fold the small piece that 
is left and put it in your sewing- 
box. 

(12) Fold your work and pin 
your name on it. 



Work put away. 

Scissors collected by one child. 



Put things away in your sewing- 
boxes. 



As soon as your work is put 
away sit down and face this way. 



Summary of points brought out 
in the lesson. 



How many think they could cut 
an apron out at home like the one 
we have just cut ? 



Suppose you were going to 
make one for some one at home, 
who can tell me how to begin it ? 



What would you do next? 



74 DOMESTIC ART 

STUDENT PLAN 

Outline for Series of Lessons 

Subject. — Weaving rug. 

School. — Elementary. 

Grade. — IIL 

Number of Children. — 22. 

A^e.—S-g. 

Number of Lessons. — 5. 

Teachers' Aims. — 

(a) Practical; weaving rug with pattern. 

(b) Ethical; habits of accurate thinking and doing, per- 
severance, and patience. 

(c) Social; relation of rug weaving to home and school, 
adaptation of material used. 

Pupils' Aim. — Weaving rug. 

Materials. — 22 pieces cardboard, belt punch, 44 balls jute 
(several colors), paper, No. 19 tapestry needles, scissors, 
thimbles. 

Cost per Child. — 5 cents. 

Illustrative Material. — Blackboard, small pieces of canvas 
showing selvage and warp and woof, large cardboard with 
bright-colored jute for demonstration, rug on small cardboard 
partly woven, finished rug. 

Outline of Subject- Matter. — 

(i) Weaving rug. Planning size, arranging holes for warp 
thread, threading needles, making knot, putting in warp 
thread, weaving woof threads (darning, shuttle, heddle, batten), 
selvage, joining threads, making simple and pleasing stripe for 
pattern, removing from card, fringing. 

(2) Accuracy of thought, skill. 

(3) Jute, cultivation, manufacture, use, adaptation. 



PLANNING A DOMESTIC-ART LESSON 



75 



DAILY PLAN. LESSON 2 

Subject. — Weaving rug. 
School. — Elementary. 
Grade. — 3d. 

Teachers' Aim.—HsLve pupils put in pattern of two stripes 
and begin weaving centre of rug. 
Pupils' Aim. — ^To weave part of rug. 



Subject-Matter 



Drew woof threads too tight, so 
made width of rug uneven. Didn't 
tighten up the woof enough to 
make good, firm, solid material. 



In weaving, the jute was passed 
under and over the first time across, 
and over and under coming back. 

Join well in toward centre, 
never on selvage. Leave ends 
about i" long on wrong side. See 
Lesson i. 



Method 

Every one looks happy and eager 
to work this afternoon. I'm glad, 
for we have a great deal to do and 
we'll want to do it well. You've 
heard the old saying, "What's 
worth doing at all, is worth doing 
well." I'm sure we all feel that it 
is worth while to weave a small 
rug for the doll's house and so it is 
worth weaving well. 

Let us think for just a second 
what troubled us in our weaving 
last week. William, can you tell 
us? 

We'll try to overcome those faults 
to-day and keep the woof threads 
loose enough to make rug even; 
also push the woof thread well up 
to the end every time. 

Just how did we put in the woof 
threads ? 



Who remembers how we piece 
the thread? 



76 



DOMESTIC ART 



Demonstration on blackboard 
and large cardboard, illustrating 
method of going over and under 
the alternate threads and of piec- 
ing the woof by lapping near the 
middle of woven material. 



I expect every child to put in 
two narrow stripes and begin 
weaving centre of rug. Every 
pupil ought to have a good rug. 

Stripe is to be of different color. 
Begin near centre under same warp 
thread with first color. Weave in 
two or three threads across for nar- 
row stripe and six or seven for 
wide one with few threads of brown 
between. 



Demonstrate with bright color. 



Pass rugs, jute, scissors. 
Work begins. 

Woven two stripes and begun 
on centre, keeping width even and 
woof well battened. 



On last row of stripe leave off 
where you began. Cut thread 
with long end, leaving it on wrong 
side of rug. 

Tell the class. Lulu, what they 
are expected to do in the next half 
hour. How many think they can 
do it, and do it well? Good! 
we'll be first-class weavers. 



Those who have done what I 
asked them to do, hold up rug, 
please. We've done very well 
this afternoon. 



Over and under alternate 
threads, careful joining of thread, 
width of rug, close firm mesh. 



What are the things we need to 
keep in mind to be good weavers? 

Collect. 



PLANNING A DOMESTIC-ART LESSON 77 

STUDENT PLAN 

Outline for Series of Lessons 

Subject. — Making a petticoat. 

School. — Public. Grade. — 8th. 

Age of Children. — 14. 

Number of Lessons. — 12. 

Teachers^ Aim. — ^To teach the girl to make a neat, useful 
petticoat for herself by machine, to give her an understanding 
of the varying conditions under which ready-made underwear 
is made, and the girl's responsibility as a consumer. 

Pupils^ Aim. — To make a petticoat for herself. 

Materials. — 

(a) Actual (for each girl): 

Cambric, 2 lengths. 

RufHing, 3 J yards. 

Button. 

Thread, No. 50 and No. 80. 

Needles. 

Scissors. 

Thimble. 

Tape measure. 

Pins. 

Emery. 

(b) Illustrative: 

Paper. 

Demonstration cloth. 
Pictures of factory *life, sweat-shop labor. 
Work of the Consumers' League in bettering con- 
ditions. 
Plackets of various kinds. 
Finished skirts. 



78 DOMESTIC ART 

Subject-M alter. — 

Points covered in making the petticoat: 

(i) Cutting of the skirt from two lengths of material. 

(2) Pinning and basting seams. 

(3) Making French seams. 

(4) Putting in the straight placket. 

(5) Preparation of the top of the skirt for the band (sloping, 
gathering) . 

(6) Fitting the skirt to the band. 

(7) Putting on the band. 

(8) Preparation of the bottom of the skirt for the ruffle. 

{a) Curving the bottom of the skirt (not necessary 
when cutting from a pattern). 

(b) Creasing and stitching the |-inch tuck. 

(c) Division of skirt into quarters. 

(9) Preparation of the ruffle: 

(a) Cutting to desired width. 

(b) Joining. 

(c) Division into quarters. 

(d) Gathering. 

(10) Fastening of the ruffle to the skirt. 

(11) Button-hole (practice, then make in the band). 

(12) Sewing on the button. 

DAILY PLAN. LESSON 8* 

Subject. — Making a petticoat by machine. 
School. — Public. — Elementary. 
Grade. — 8th. 

Length of lesson — One hour. 

Teachers^ Aim. — ^To stroke the gathers of the ruffle. To baste 
a part of the ruffle to the skirt, distributing the gathers properly. 
* Note: The first seven plans are omitted; this is given as a type. 



PLANNING A DOMESTIC-ART LESSON 



79 



Pupils^ Aim. — ^To stroke the gathers of the ruffle. To baste 
a part of the ruffle to the skirt, distributing the gathers properly. 



Subject-Matter 

To prepare the ruffle for gather- 
ing, these steps were taken: 

1. Cutting of the ruffle to the 
desired width. 

2. Joining of ruffle (French 
seam). 

3. Dividing of ruffle into quar- 
ters. 



Method 

Tell me very briefly how you 
prepared your ruffle for the gather- 
ing — simply name the steps. 



An embroidery ruffle is prepared 
in the same way. 



Can you think of any other kind 
of ruffle that would be prepared in 
the same way ? 

We seldom get ruffling already 
prepared for us. If we wish to have 
a cloth ruffle we must usually cut it 
and make it. 



In a cloth ruffle, the woof threads 
extend the length of the ruffle and 
the warp threads up and down — 
the same way as in the body of the 
skirt. The material cuts to bet- 
ter advantage in this way and the 
ruffle looks better (falls into pret- 
tier folds). 



In making a cloth ruffle, a num- 
ber of strips should be torn across 
the material. 



The depth of the strips ■■= the 
depth of the ruffle when finished + 
the amount for tucks, hem, and 
making. 



How many of you have ever 
made a cloth ruffle or have seen one 
made ? Which set of threads ex- 
tended the length of the ruffle? 
Why? 



(Teacher shows a cloth ruffle on 
a skirt.) 

(Teacher makes a diagram on 
the board to illustrate the way in 
which the strips are torn for the 
ruffle.) 

In measuring the depth of the 
strips, for what would you have to 
allow ? 



8o 



DOMESTIC ART 



The number of strips needed de- 
pends upon: 

(i) The width of the material. 

(2) The width of the skirt 
around the bottom, 

(3) The amount of fulness de- 
sired (usually I J times). 



What would determine the num- 
ber of strips needed ? 



After the strips are cut, they are 
joined. 

The hem and tucks are then put 
in. The ruffle is quartered and 
gathered. 



(Teacher names the steps taken 
in finishing a cloth ruffle.) 



Before the ruffle is fastened to 
the skirt, the gathers must be 
stroked. It was not necessary to 
stroke the gathers at the top of the 
skirt, because there were two rows 
of gathering. 



In the ruffle there is but one row 
of gathering, therefore it is neces- 
sary to stroke the gathers. 



I shall show you to-day how to 
stroke the gathers quickly. 



Stroke gathers because it is a 
help in getting them distributed 
evenly. 



(Teacher explains reason for 
stroking gathers and demonstrates 
the stroking.) 



For fine materials, stroke the 
gathers with a coarse needle. For 
heavier materials, stroke the gath- 
ers by drawing them between the 
thumb and forefinger — pressing 
them. The gathering thread is 
held firmly — may be pinned to the 
knee. 



(To show the importance of 
stroking gathers, teacher shows 
two gathered pieces. In one, the 
gathers will have been stroked; 
in the other, not.) 



PLANNING A DOMESTIC-ART LESSON 



8l 



After the gathers are stroked, the 
ruffle is ready to be fastened to the 
skirt. 



Divide the skirt into fourths cor- 
responding to the division of the 
ruffle. Mark the divisions w^ith 
several large stitches. 



Since the ruffle was quartered 
for the gathering, what should be 
done to the skirt before attaching 
the ruffle, in order to get the gathers 
evenly distributed? 



In pinning and basting the ruffle 
to the skirt, the following points 
should be considered: 

(i) Wrong side of ruffle to 
wrong side of skirt; (2) joining of 
ruffle in the back, divisions placed 
to correspond; (3) draw up the 
gathering thread and wind it 
around a pin; (4) pin (pins ex- 
tending at right angles to the 
gathering thread), distributing the 
gathers evenly, gathered side next 
to the worker; (5) baste (being 
careful not to disarrange the 
gathers) J-inch seam. 



I shall show you how to pin and 
baste the ruffle to the skirt. 



(Teacher demonstrates the pin- 
ning and basting of the ruffle to 
the skirt.) 



Now you may stroke the gath- 
ers of your ruffle, then fasten the 
ruffle to the skirt. Every girl 
should get at least one quarter of 
her ruffle basted to-day. 



Girls work for remainder of 
hour, and after work is collected 
there is a brief summary as sug- 
gested by the question following 
practical work. 



Practical work. 



What do you think we must be 
most careful about in basting the 
remainder of the ruffle in place ? 



82 DOMESTIC ART 

Students of domestic art in training will find it 
of great assistance to visit domestic-art classes for 
observation and discussion. If this can be done in 
groups, the discussions will prove of much greater 
value. It is well to have, before visiting a class, a 
pretty clear idea of the relation of domestic art to 
other grade subjects, and to have discussed the value 
of industrial lines of work, methods of presentation, 
etc. The greater knowledge attained along these lines 
before visiting, the greater will be the benefits derived, 
and the eyes will be opened to many things before 
unseen. There must be some basis for judgment of 
the lesson observed. It is well, also, for students to 
visit before there is much basis for judgment and 
then later, when the thoughts have become better for- 
mulated and arranged. The students' ideas should 
not be moulded by the teacher, but liberated so they 
will think and be free to observe for themselves. 

The test for the judgment of a domestic-art les- 
son is whether it is adapted to the physical and 
psychical nature of the child or pupil. Again, an- 
other test is. Has the environment been kept in mind ? 
The theory of the student-teacher, or the idea of 
how the thing is done, the plan of action, is often 
very different from the actual practice. Experi- 



PLANNING A DOMESTIC-ART LESSON 83 

ence or practice should enable a teacher to under- 
stand herself, and then to formulate her own theory, 
for it is only with experience that there comes a 
clearing up of thought. This means that there is 
control and appreciation of action and that the 
teacher has reached the creative stage and under- 
stands the reactions. 

The following outline may be suggestive to those 
not used to observing. It is wise to enter the name 
of class, date, etc., with full particulars in the note- 
book, under the following heads. The points may 
be discussed later and much benefit derived from the 
individual efforts made at observation. 

' OBSERVATION 

(a) School. 

(b) Grade. Number in class. 

(c) Date, and name of teacher. 

(d) Subject. 

(e) Time allowed. 

1. The Pupils — 

(a) Physical condition, general health, sight, hear- 
ing, any defects. Are these considered in any way 
by teacher, in her plans or instructions? 

(b) Mental aspects. 



84 DOMESTIC ART 

(i) Notice attention of children. How gained? 
Lack of attention. Causes. 

(2) Note differences between the alert and active 
child-mind and slow or deficient child. Was class 
sacrificed for backward children? Effects of home 
training. 

(3) Habit formations of the children, notice if 
these conduce to economy of time in class. 

(4) Notice use made by teacher of other impulses, 
or instincts of the child, as play, curiosity, jealousy, 
wonder, sympathy, etc. 

II. The Teacher — 

ia) Type of lesson observed? Reasons why? 

(i) Aim? Was it accomplished? 

(2) Was the method adapted to aim of lesson? 

(3) State leading steps in the development of the 
lesson. 

(4) Were the questions of the teacher logical; 
strong, or weak ? 

(5) What appeared to you to be the best thing ac- 
complished by the lesson? 

(6) Were the children taught to think about the 
relation of the subject to any social problem ? If so, 
what, and with what results? 

(7) Was there any application of the lesson taught ? 
If not, why? How mi^ht it have been done? 

(8) Would you have presented the lesson in any 
different way? 



PLANNING A DOMESTIC-ART LESSON 85 

(b) Class management. 

(i) Devices for securing attention. 

(2) Skill and rapidity. Economy of time. 

(3) Storage and distribution of materials. 

(4) Ventilation, heating, and lighting. Order of 
class-room. 

(5) Class spirit. 

(6) Devices for attending to routine matters. 

(c) Personality of teacher. 
(i) Appearance, manner. 

(2) Peculiarities of habit. What effect, if any, do 
these have on the class ? 

(3) Did you notice any particular result of teacher's 
influence ? 

III. The Equipment — 

(a) General. 

(b) Illustrative ; devices for inexpensive equipment 
and use. 

(c) Storage of equipment, permanent or tem- 
porary. 

IV. The Curriculum — 

(a) Notice general curriculum of school. 

{b) Notice curriculum in domestic art. Any at- 
tempt at correlation. 

(c) Read curriculum of grade under observation, 
as well as previous work in domestic art. 



86 DOMESTIC ART 

References for Study 

"The Method of the Recitation," McMurray. 
''Teacher's College Record," January, 1903. 
"Essentials of Method," De Garmo. 
"The Educative Process," Bagley. 



CHAPTER VI 

THE ECONOMICS OF DOMESTIC ART 

The cost of the introduction of industrial work 
into the elementary school will vary according to 
Cost of domes- the ways and means adopted and the 
tic art in the jngenuitv and versatility of those who 

elementary o j j 

school. have it in charge. There need be no 

special room for this work unless space is available. 
It is always an incentive to the children, however, 
to have a special place where this work may be 
carried on, and is of great assistance to the teacher. 
There she may collect pictures, looms, spinning 
wheels, exhibits of many kinds which will aid her 
in giving instruction and be constantly on exhibi- 
tion for the children's use. The classes will go to 
this room for the domestic-art work, especially the 
upper grades. If machine work is given as part 
of the course, it is almost necessary to have a special 
room, although it is possible to have the machines 
in the class-room. If the school is coeducational, 

87 



88 DOMESTIC ART 

this will necessitate certain changes, as the work 
for the boys must be considered too. 

In the lower grades the industrial work of which 
the textile field is one phase may be carried on in 
the class-room. The many possibilities in the wide 
range of material for selection make it possible to 
reduce the cost of this work to five cents per child 
per year of one hour a week. Many schools allow 
more than this. The cost of materials will depend 
too on the person in charge of the work. If left to 
the individual grade teachers who know nothing 
of this field of work, there is apt to be a greater 
waste than if there is a well-trained ingenious super- 
visor to control costs. Such supervisors will com- 
mand salaries ranging from $1,200 to $2,500 and 
in some instances in large school systems $3,000 
and more. This is really an economy in the long 
run, for the work will progress more smoothly, it 
will be better planned, the children will be better 
taught, with better results, and there will be a saving 
in expenditure for materials. 

The permanent equipment in the lower grades 
may be very inexpensive. A general supply of 
scissors, emeries, tape-measures, etc., may be taken 
from room to room if it is not possible to have 



THE ECONOMICS OF DOMESTIC ART 89 

enough for each grade. Thimbles may be brought 
from home by the children and so the cost of perma- 
nent equipment be reduced to almost nothing. The 
same may be true of materials used. A teacher 
who is awake to the possibilities of odds and ends 
that are thrown into the waste-basket will be able 
to reduce the cost greatly. If it is possible to have 
the equipment for each grade, it may be bought as 
follows : 

I dozen thimbles 25 

I " emeries 40 

I *^ scissors 3.00 

I " tape measures 40 

I " boxes for work 84 

Permanent equipment for one dozen children $4.89 

If it is not possible to afford the cloth-covered 
boxes for the work, as itemized above, envelopes of 
bogus paper may be made and decorated by the 
children, or it may be possible to obtain from some 
local shoe department store boxes of uniform size 
and shape, for very little cost, and often for nothing. 
Tools for other lines of hand-work besides the 
sewing are scarcely necessary. Clay work may 
require a simple wood tool, but one can manage 
without it, or with an odd bit of wood sharpened to 



9© DOMESTIC ART 

a point, which need cost nothing. For weaving 
there are many simple looms on the market ranging 
in price from 20 cents to $1.50, but it is far bet- 
ter to have the children make their own looms of 
cardboard or wood. Cardboard and paper work 
in the lower grades need necessitate very little ex- 
penditure for tools. The scissors used for the sew- 
ing may be used, although it is better to have a 
separate set for paper work. This set may be used 
also for the other industrial work of the lower 
grades. 

In the upper grades the cost of maintenance of 
the work will vary. Some school boards allow as 
much as twenty-five cents per year per child. This 
will make possible a number of small applications 
for stitches. If large articles or garments are made, 
the parents are quite willing to pay for the cost, as 
they realize the utilitarian value of the product. 
The teacher should be careful, however, to have the 
children make articles which will fit the needs of the 
home. If a child is too poor to pay for the cost 
of the article, the child may earn it by service in 
school, or it may be made for sale and bought by 
the teachers for exhibit or other purposes. Visitors 
often ask for samples of the children's work, and 



THE ECONOMICS OF DOMESTIC ART 91 

sales may be made in this way. It is almost a neces- 
sity to have a special teacher in the upper grades, 
and really an economy, although the work is often 
conducted by the grade teacher. The equipment in 
the way of tools may cost very little as outlined above, 
and one set of tools may be used for all the classes ; 
or each grade may have its own, which is of course 
more desirable. The cost of furnishings for a simple 
laboratory may be kept very low. The room should 
be large enough to seat the children comfortably, 
should be well lighted, the walls tastefully decorated, 
and have convenient space for storing materials. 
This room is almost a necessity where the school 
is a local centre for work and the children of 
the neighboring schools attend it for their exer- 
cises in domestic art. This method is adopted in 
smaller towns and cities in order to reduce the 
cost. 

The special room is also an incentive to work. 
Children will often visit it at odd periods for com- 
pletion of back VN^ork, or because of interest in the 
exhibits and a desire to study. It should be a cen- 
tre for such information as the teacher of domestic 
art has to give. There should be low chairs for 
sewing, work tables, a cutting table, machines. 



92 DOMESTIC ART 

blackboard, etc. This special room may often be 
used for other purposes, as the sewing classes may 
not occupy it during all the periods. On that 
account it is wise to have folding tables which may 
be removed when it is necessary to clear the floor 
space. Tables hinged and attached to the walls 
may be let down and be out of the way when it is 
necessary to remove them. The following is a list 
with cost of a simple, inexpensive laboratory equip- 
ment for grade school use for twenty-four pupils: 

2 dozen chairs . $24.00 

8 work tables 16.00 

2 cutting tables (kitchen tables stained) . 6.00 

4 sewing machines 100.00 

Teacher's desk 10.00 

" chair 3.00 

I demonstration cloth and needle .... .50 

I dozen waist forms 6.00 

1 gas stove 1.50 

2 flatirons .72 

I mirror 2.00 

Total cost $169.72 

Good work may be done with the inexpensive 
equipment. Elaborate furnishings do not tend to 
increase the output or quality of the work. Addi- 
tional facilities contribute to ease and convenience 



% 



THE ECONOMICS OF DOMESTIC ART 93 

of the worker and especially the teacher. A more 
expensive equipment is added below for upper 
grade use: 

2 dozen chairs $36.00 

I dozen work tables 36 . 00 

6 cutting tables 60.00 

6 sewing machines . 180.00 

I exhibit case 30.00 

I teacher's desk 15 -o^ 

I " chair 3-oo 

I mirror . 20.00 

I gas stove 3 • °o 

6 flatirons 3- 00 

I screen 6.00 

I demonstration frame 2.00 

I bulletin board 3-0° 

I roll case for storing pupils' work — accom- 
modating 4 classes 75 -oo 

6 waist forms 3 • 0° 

I ironing board i • 5° 

Total cost $476.50 

The cost of the laboratory equipment for the high 
school need be little more than that of the special 
Cost in high room for upper grade work. The addi- 
schooi. tional expense will probably be for the 

necessary articles for drafting and garment-making, 
such as yard-sticks, skirt forms, etc. 



94 DOMESTIC ART 

The cost of the temporary equipment for both 
elementary and high school will depend somewhat 
on the method of purchase of materials. Materials 
bought at wholesale in large quantities may be 
obtained at great reduction. The care and use of 
the temporary equipment will also regulate the 
cost. 

The cost of equipment in other types of schools 
will vary according to aim, number of pupils to be 
accommodated, and the elaborateness of outfit. 
The equipment need not necessarily be expensive. 
The following lists of cost of articles will furnish 
suggestions for those interested in both expensive 
and inexpensive equipment: 

Bias cutter and marker $5.00 

Boxes — sewing — cloth - covered — 8x14x2^, 

per hundred 18.00 

18x16 Jx4f, per hundred 45 00 

6ix4jx3, per hundred ....... 8.00 

Bulletin boards, each 3.00 to 5.00 

Chairs — 

Bent wood, with cane seat, each . . . i . 25 

Kitchen chairs (to be stained), each . . .50 

Willow (for office use), each 5.00 

Desk chairs (revolving, bent wood), each 3.50 

" " (with arms), each . . . . 5.00 to 12.00 

Laboratory chair (better class) each . . 3.00 to 5.00 

t 



THE ECONOMICS OF DOMESTIC ART 95 

Cases — 

Bookcases, each . . lo.oo to 50.00 

Storage for work — for 50, each . . . . 30.00 to 75.00 

Exhibit cases — gowns and hats, each . . 50.00 to 100.00 
Exhibit cases — flat, according to size and 

finish 25.00 to 75.00 

Exhibit cases — sliding glass doors, accord- 
ing to size and finish 25.00 to 75.00 

Ironing cabinets — zinc top (for ironing 

outfit made to order) 15 00 

Desks — 

Flat top — well finished, with side drawers 25.00 

Flat top table without side drawers . . 12.00 

Roll-top desks for office use, each . . . 10.00 to 75.00 
Dress forms — 

Full length, each . , 3.00 to 8.00 

Waist length, each -50 to 4.00 

Demonstration frames (made to order), each i . 00 to 5 . 00 

Emeries, per dozen . 25 to .50 

Embroidery rings, per dozen 75 

" holders (Priscilla), per dozen . 2.50 
Files- 
Letter files (for office use), each . . . . 20.00 to 50.00 
Card boxes and cataloguing schemes, each i . 00 to 50 . 00 

Gas stoves, each i . 50 to 5 . 00 

Irons, according to style and weight, each . .36 to i.oo 

Electric irons, 4 lb., nickel, each . . 3.75 

" 12 " " " . . 9.00 
Mirrors — 

Hand-mirrors, each 75^0 3.00 

Triple folding wall-mirrors (millinery 

purpose), according to size . . . . 5.00 to 25.00 



96 



DOMESTIC ART 



size 



and 



Triple folding dressmaking-mirror, each 

Flat wall-mirrors, oak frames, according 

to size 

Machines — 

Single- and double-thread, each 

With motor attachment, each 
Pedestals (for fitting), each . . 
Pinking machine, each . . . 
Plaiting machine, each . . . 
Rollers (paper) — 

Jumbo rollers, stand, each 

Drafting-paper (per roll), each 
Rugs (for office use), according to 

quality 

Rattan couch, each .... 
Stools, 24-inch cane-seat, per dozen 

24-inch wooden-seat, per dozen 
Screens, triple-folding, each 
Seatings, class-room, a seat 
Skirt-markers, each .... 
Sleeve forms (per set 2), each . 
Scissors — 

Straight cutting, per dozen . 
" shears, per dozen 

Button-hole, per dozen . . 
Tables— 

For conference purposes, each 

Ironing — ready-made, each . 

Ironing, made to order with wood top, 
4x2 ft., according to size and finish, 
each 

Kitchen tables, 5 ft., each 

Folding sewing tables, each . 



30.00 to 75.00 



2.50 to 25.00 



20 . 00 to 60 . 00 
60.00 to 70.00 

4.00 to 10.00 

5.00 
12.00 



5.00 
5.00 



20.00 to 50.00 

15.00 

13.00 

7.00 

5.00 to 20.00 

2 . 00 to 4 . 00 

10.00 to 25.00 

4.00 

3 . 00 to 6 . 00 
5.00 to 10.00 

4 . 80 to 6 . 00 

20.00 to 200.00 
1 . 50 to 5 . 00 



10.00 to 15.00 
2 . 00 to 3 . 00 
1 . 00 to 3 . 00 



THE ECONOMICS OF DOMESTIC ART 97 

Drafting tables made to order — 7 ft. long 
by 3 ft. wide by 2 ft. 8 in. high, white 

wood top, oak base, each . . . . . 15.00 to 18.00 
Drafting tables, removable tops and horses 

for support, each 10.00 to 12.00 

Sewing-tables made to order, oak, 6 ft. 

long by 2 ft. 4 in. high, each . . . . 13 . 50 

Tape measures, reversible, per dozen ... . 40 to .60 

Tracing wheels, per dozen • . i.oo to 4.00 

Thimbles, German silver, by gross . . . 3.90 

Wire-cutters, side-cutting, per dozen . . . 4 . 00 to 6 . 00 

Waist- and coat-hangers, per dozen . • • . 36 to i . 00 

Yard-sticks, per dozen i . 50 to 3 . 00 

Illustrative material is rather difficult to collect. 

The teacher of domestic art must be alert and seize 

every available opportunity for getting 

The cost of 

illustrative it. Many articles may be easily ob- 
tained while travelling and through 
interesting in the work the people one meets. 
Expositions furnish opportunity for securing mate- 
rial which will often be sold for little after the expo- 
sition is over. Large manufactories sometimes 
make boxes for sale illustrating the steps in the 
manufacture of various materials such as thread, 
needles, scissors, buttons, cotton, woollen, linen, or 
silk materials. These will often be made to order, 
but cost considerably more. The illustrative boxes 



98 DOMESTIC ART 

range in price from $2.50 to $10.00 each. Through 
correspondence with large museums an exchange or 
purchase of articles may be made. Very often, too, 
it is possible to have models made similar to those 
seen in the museums, which are often copies of 
originals. The domestic-art teachers should always 
be on the lookout for pictures and clippings from 
newspapers and magazines. These may be filed 
for reference and often prove of great value. 

The salaries of teachers of domestic art vary 

according to locality and the demands made. 

Teachers in the elementary school re- 

Salaries. 

ceive from $600 to $1,200 for upper 
grade work. This demand is most often for a 
teacher who can combine the teaching of sewing 
and cooking. When the system is a large one the 
demand is for separate teachers for each specialty. 
Supervisors of domestic art in the elementary school 
receive from $800 to $3,000, and sometimes more 
if the system is a large one. The duties vary 
with locality and conditions. Often the domestic- 
art supervisor directs the industrial work of the 
lower grades which is taught by the grade teacher, 
and does the actual teaching in the upper grades. 
Again the duties may be supervision of all the grades. 



THE ECONOMICS OF DOMESTIC ART 99 

In other localities the domestic-art teacher does not 
control the industrial work of the lower grades; it 
may be under the direction of the manual training 
or arts supervisor. The ideal condition is super- 
vision only of the upper grade work for girls in 
either cooking or sewing or both. This is quite 
enough for any one person to do well. 

The salaries of teachers in high schools range 
from $900 to $2,000, according to kind of work and 
length of service. Directors of -departments in high 
schools receive from $1,500 to $2,000. 

In trade schools teachers receive from $800 to 
$1,200, directors of departments from $1,200 to 
$1,800, and school directors from $2,000 to $3,000. 

In higher institutions, colleges for women, State 
agricultural colleges, and normal schools, the 
salaries vary from $1,200 to $3,500, according to 
responsibility. 



CHAPTER VII 

HOW TO KEEP IN TOUCH WITH PROGRESS IN THE 
DOMESTIC-ART FIELD 

The writer has often been asked if domestic art 
can be studied by correspondence. The answer has 
always been, ^^No, not to advantage." It may 
often happen, however, that a teacher has been 
forced into this field of work, or is not quite ready 
to go to a normal school for study, and in the mean 
time may wish to come in touch with some of the 
subjects. There are many lines of work in this 
field, and the teacher of domestic art, if she is to do 
the best kind of work, should know something about 
psychology, the history of education, and the theory 
and method of presenting this subject, as well as the 
more technical work of sewing, dressmaking, and 
millinery. A selected bibliography of these subjects 
will be added later ; much help and information may 
also be gained from current magazines, reports of 
associations, etc., all of which will help the teacher 
in the field to keep in touch with the latest ideas 
and movements. 



lOO 



PROGRESS IN THE DOMESTIC-ART FIELD loi 
ASSOCIATIONS AND THEIR REPORTS 

The annual reports of the following associations 
are of particular help and can be had by becoming 
a member of the associations, or by buying them 
from the secretaries of these associations: 

(i) National Education Association. Member- 
ship $2.00. Irwin Shepherd, Winona, Wis. Gen- 
eral educational papers of the annual meetings are 
published in this report. All are of help, the reports 
of the sections on trade and industrial work espe- 
cially. 

(2) Lake Placid Conference on Home Economics, 
Lake Placid Club, Essex County, N. Y. Annual 
report of papers read at yearly meeting, also of the 
teachers' section, a mid-winter conference. These 
are of particular value to teachers of domestic art 
and science. (This conference ceased with the or- 
ganization of the American Home Economics Asso- 
ciation in January, 1909. Back reports are of much 
help.) 

(3) American Home Economics Association, mem- 
bership $2.00; includes journal published bimonthly. 
Teachers College, New York. Of interest to all 
classes of workers in the field of home economics. 

(4) Public Education Association of New York, 
105 East Twenty-second Street, Room 520. 



102 DOMESTIC ART 

(5) Society for the Promotion of Industrial Edu- 
cation. Literature may be obtained from Mr. 
Jas. C. Monaghan, Secretary, 546 Fifth Avenue, 
New York City. 

(6) Eastern Manual Training Teachers' Asso- 
ciation. 

(7) Western Manual Training and Drawing 
Teachers' Association. 

(8) Consumers' League. Reports of national and 
New York City Leagues may be obtained on appli- 
cation at office, 105 East Twenty-second Street, 
New York City. The aim of this league is to im- 
prove conditions of working women and children 
as to hours, wages, etc. 

(9) Woman's Municipal League of New York, 
19 East Twenty-sixth Street. Bulletin 50 cents per 
year. A society interested in civic improvements. 

OTHER PUBLICATIONS 

I. Magazines: 

(i) '^Teachers College Record." $1.00 per year. 
Address "Teachers College Record," Columbia 
University, New York. Devoted to discussion of 
educational problems. 

(2) "Elementary School Teacher." Published by 
University of Chicago Press, Chicago. $1.50. De- 
voted to discussion of all phases of work of the ele- 
mentary school. 



PROGRESS IN THE DOMESTIC-ART FIELD 103 

(3) "Manual Training Magazine." $1.50. Pub- 
lished bimonthly by Manual Arts Press, Peoria, 
111. Devoted to discussion of industrial-arts subjects. 

(4) "The Survey," formerly "Charities and the 
Commons." $2.00 per year. Published by Charity 
Organization Society, Twenty-second Street and 
Fourth Avenue, New York City. Deals with prob- 
lems relating to the education and improvement of 
the poor. All interested in philanthropic work and 
social advancement will find this of great value. 

(5) "The Craftsman." $3.00 per year. Pub- 
lished by Gustav Stickley, 41 West Thirty-fourth 
Street, New York City. Of help along art lines. 
Many suggestions for interior decoration and design. 

(6) "The School Arts Book." $1.50 per year. 
Published by Davis Press, Worcester, Mass. A 
practical magazine for the elementary and high 
school, with many suggestions for applied design, 
and many articles of value to the domestic-art 
teacher. 

(7) "The House Beautiful." $1.75 per year. 
Suggestive for those interested in the crafts and 
interior decoration. 

(8) " The Ladies' Home Journal." $1.50 per year. 
Published by Curtis Publishing Company, Phila- 
delphia. 

(9) "The Wornan's Home Companion." $1.25 
per year. Many suggestions in art needlework, sew- 



I04 DOMESTIC ART 

ing, and dressmaking. Published by Crowell Pub- 
lishing Company, New York City. 

(9) ^' Good Housekeeping." $1.50 per year. Pub- 
lished by Phelps Publishing Company, Springfield, 
Mass. Articles of interest in relation to dress and 
good housekeeping generally. 

(10) ^^The Outlook." $3.00 per year. 287 
Fourth Avenue, New York City. 

(11) '^The Educational Review." $3.00 per year. 
Published by Educational Review Company, Colum- 
bia University, New York City. Devoted to discus- 
sion of topics of general interest in educational field. 

II. Government Reports: 
United States Department of Agriculture: 
(i) ^'Farmer's Bulletins." Free distribution with 
some exceptions. Address, Division of Publications, 
Washington, D. C. Of great value to students of 
domestic art and science. Many papers on wool, 
silk, cotton, sheep, etc., of value in study of textiles. 

(2) "Annual Reports of the Department of Agri- 
culture." Division of Publications, Washington, 
D. C. Textile crops and experiments are treated in 
these reports, as well as other agricultural reports. 

(3) "Reports of the Smithsonian Institute," Wash- 
ington, D. C. The reports on ethnological subjects 
of value in study of primitive life, industries, and 
textiles. 



PROGRESS IN THE DOMESTIC-ART FIELD 105 

(4) "Reports of the Commissioner of Education," 
Department of the Interior, Washington, D. C. 
These are issued every few years, and are of great 
value to students of education in general, or of 
particular fields. 

(5) "Reports of the United States Commissioner 
of Labor," Washington, D. C. Of value to those 
interested in problems of economics, the wage- 
earner, etc. Some of the back numbers are of great 
interest and value, especially on technical and 
industrial education. 

III. Foreign Publications: 

"Reports of Dr. M. Sadler for the English Gov- 
ernment." Volumes X and XI are devoted to his 
Study of American Education. Volume IX, German 
Education. May be obtained from G. Seiler, 
1228 Amsterdam Avenue, New York City. Price 
80 cents each. Of value to those wishing to study 
the system of schools of the United States com- 
paratively. 

"Report by Alice Ravenhill on the Teaching of 
Domestic Science in the United States." Commis- 
sioner for Board of Education of Great Britain, 1905, 
374 pages, price 75 cents. 

IV. Publications of the American School of Home 
Economics: M. Le Bosquet, Director, 610 West 
Sixty-ninth Street, Chicago. Correspondence courses 



I06 DOMESTIC ART 

for home-makers, teachers, social workers, and for 
institutional managers. Special text-books and 
library facilities. 

V. Books: 

A small selected bibliography will be added at the 
close. To keep in touch with new publications, 
consult lists of new books added to respective public 
libraries. Send to the leading book-publishing con- 
cerns for their monthly lists of new publications, 
especially along educational lines. Notice the adver- 
tisements of new books in the back of the current 
educational magazines suggested above. 

VI. Publications of some of the textile schools 
and associations are of value in study of textiles. 

"National Association of Wool Manufacturers' 
Quarterly Magazine," devoted to the interests of 
the National Wool Industry. Office, 683 Atlantic 
Avenue, Boston, Mass. 

The New England Cotton Manufacturers' Associa- 
tion, International Trust Building, 45 Milk Street, 
Boston, Mass. 

Draper Company. '' Cotton Chats." Published 
by Secretary, Hopedale, Mass. 

Lowell School publications. 

VII. Catalogues of new schools, giving domestic 
art and science subjects, may be suggestive, or those 



PROGRESS IN THE DOMESTIC-ART FIELD I07 

of old schools of note, that are constantly adding 
new subjects of interest along these lines. 

Another means of keeping in touch with progress 
in this field is by attending the annual meetings of 
the educational associations mentioned. Much in- 
spiration may be gained in this way. School exhibits 
are also of great help, and the educational divisions 
of State fairs or expositions furnish many sugges- 
tions. The teacher of domestic art must be alert and 
alive to all progress of events about her. Clubs of 
teachers interested in domestic-art subjects may 
meet for discussion and much benefit be derived if 
the meetings are conducted seriously and systemat- 
ically. 



PART 11 

DOMESTIC ART IN THE ELEMENTARY 

SCHOOL 

CHAPTER VIII 

DIVISION OF SUBJECT-MATTER FOR THE ELE- 
MENTARY SCHOOL 

Some line of domestic-art work may be presented 
in every grade of the elementary school. As it is 
Constructive generally placed in the school curricu- 
^veni^nreariy ^^^ ^^ means scwing and its allied sub- 
every grade, jects, or often scwing alone in the 
fifth, sixth, seventh, and eighth years of the graded 
school. 

Some constructive vi^ork of an industrial nature is 
now generally given in all grades of the elementary 
school. Arguments for its introduction have already 
been given. Froebel in the kindergarten has pre- 
sented theories that may well be advanced along 
higher lines of education. Hand-work and doing 

io8 



DIVISION OF SUBJECT-MATTER 109 

are the keystones of the kindergarten work. The 
paper-cutting, pasting, sewing, clay, all the various 
occupations are avenues for self-expression as well 
as the gifts, songs, and games which furnish further 
opportunity for doing and thinking, or the self- 
activity of the child. 

When the child enters the kindergarten and begins 
his school career, he faces the accumulation of the 
knowledge of the world. All this is his inheritance 
to which he has a right. The work of education is 
to bring the child to his rightful possession of this 
inheritance, and the work of the school to plan it 
in such a way that the school as one institution 
of society may do its share in bringing about this 
education. The kindergarten is the first stepping- 
stone and through its various lines of work — games, 
songs, stories, gifts, and occupations — opens to the 
mind of the child in a simple way some of the won- 
ders of nature and of this complex world. The 
point of contact is the home and the teacher leads 
from this to the world of thought and action about 
the child. Most of the interpretations are through 
doing, and gradually the child is led to a compre- 
hension of some of life's complexities. One may 
say that domestic art almost begins in the kinder- 



no DOMESTIC ART 

garten in a most simple way. Sewing and use of 
the needle is one of its occupations. Furnishing of 
a doll's house with paper furniture, rugs, curtains, 
etc., is often undertaken, and simple talks in the 
morning circle on textiles, as wool, silk, linen, and 
cotton, often introduce the child to this field of 
thought. Paper and rag weaving also furnish 
another occupation and so we may trace the begin- 
nings of domestic art from early to higher education. 
Here, it is hand- work and only one of the many 
kinds presented to little children who need change 
and variety. The transition from kindergarten to 
early grade work is often fraught with danger 
because the transition to more formal work is not 
more gradual. Hand-work and domestic art as one 
branch of it should still continue and advance with 
the child, offering new interests and difficulties and 
helping to lead him to an interpretation of some 
of the many wonders in the industrial world about 
him. 

Hand-work in the elementary school has been 
presented in many different ways. There have been 
almost as many approaches as there are districts 
or localities for its introduction. Hand-work as 
the term is now generally used in the elementary 



DIVISION OF SUBJECT-MATTER III 

schooiS means the various lines of hand-work as in- 
troduced in the first four grades of the elementary 
school. From the fifth grade up, the 
ods of ap- hand- work subjects are called specifi- 

proach in plan- n t • • i. r i^i • i 

ning hand- ^ally cookmg, sewmg, etc., for the girls, 

work for the ^^^ other lincs of work, as wood- work- 
lower grades. 

ing, wood-carving, etc., for the boys. 
All of these subjects are of an industrial or house- 
hold arts nature. 

The industrial work of the lower grades may in- 
clude many lines of domestic-art thought, but should 

not be confined to these subjects. The 

Industrial .iiri ii i r ^ 

work in lower idcals of the school or the plan of the 

grades not to • i r i j 'ii j ^ *„ 

be confined to cumculum of cach grade will determine 
domestic-art largely what and how much the teacher 

branches. ° -^ 

can present. In the presentation of 
certain lines of thought, the media of clay and wood 
may more fitly be expressive than some line of do- 
mestic art, as sewing, weaving, or spinning. Hand- 
work as it is now given in the schools is approached 
from several points of view. Some claim that the so- 
called neighborhood approach is the only way, and 
work along lines which make the child's immediate 
needs and interests the centre or basis for planning. 
Others claim that the organization of hand-work in 



112 DOMESTIC ART 

the lower grades should be planned along the lines 
of social or racial development, and beginning with 
the study of the activities of primitive people trace 
their advancement through the different eras of 
civilization, pastoral, agricultural, handicraft, and 
factory eras. Another thought is that the child 
should become acquainted with the essential proc- 
esses of manufacture in the principal fields of modern 
industry and that this industrial knowledge may be 
presented partly through work with the hands, but 
not entirely so. This curriculum should be worked 
out by the grade teacher or head of the school so 
that there may be as much unity of thought as pos- 
sible and much saving of time. With the develop- 
ment of this thought may come a simplified cur- 
riculum. With the present stress put on vocational 
training, the domestic-art phases of vocational work 
for girls in the upper grades would be based on this 
lower grade study of the essential processes of the 
leading fields of industry. The girls would thus 
have a knowledge of the textile field of industry and 
the processes in the industries of spinning, weaving, 
knitting, garment-construction, and sewing. 

In some schools the hand-work is apparently 
introduced in a hit-or-miss sort of manner, simply 



DIVISION OF SUBJECT-MATTER II3 

because it is hand-work or something for the chil- 
dren to do and it is required by the controlhng 
board. This is the ^^fad" so often 

Hand- work 

may be a mere objected to and rightly. This aimless 

" fad." 

hand-work may be better than none and 
undoubtedly is where it has a certain utilitarian value, 
but there is scarcely any excuse for its being when it 
is possible to present it in such a way as to connect 
the thought of the development of industries with 
it, whether the approach be from the neighbor- 
hood point of view or along certain lines of primi- 
tive life and industries. In the first four grades of 
the elementary school many lines of industrial 
thought may be given, to which the domestic-art 
branches contribute quite a number. Little chil- 
dren need change and variety, and the boys and girls 
may be taught together during these early years. 
There is every opportunity for originality and ver- 
satility as the teacher works out her course of study. 
This often falls to the domestic-art supervisor, but 
more often to the supervisor of manual training. 
The course of study should be worked out in con- 
nection with the general curriculum and in con- 
sultation with the grade teachers and head of the 
school. With more ideal organization the develop- 



114 DOMESTIC ART 

ment of industrial thought may be a part of the 
work of the regular grade teacher and the constructive 
hand- work phases of the work be given by her also. 
The following outline may be suggestive of the 
many lines of work from which choice may be made 
in carrying out one's plans. If, for instance, the first- 
grade children are to have home life and its sur- 
rounding occupations for the central thought, many 
of the various lines might be used. In planning and 
furnishing a doll's house in a simple way, painting, 
papering of the soap boxes, simple furniture, sewing 
of curtains, bedding, etc., give opportunity for expres- 
sion along many different lines. A study of primitive 
Esquimaux life, on the other hand, might require clay, 
for making the animals and dogs, men, etc., wood 
for the sleds, and simple sewing for the garments 
representing fur. At the same time there may be 
begun the study of the modern industrial processes. 
These lines of work give to these little people an 
introduction to the great fields of industry of wood, 
clay, food, and textiles. Metal is too difficult for 
use in the lower grades. The approach which shall 
be followed must be decided by each school and 
worked out along lines most in keeping with the 
ideals of that school. Each teacher must choose the 



DIVISION OF SUBJECT-MATTER I15 

lines of work best adapted to help in presenting the 
new ideas to the children and those fitted to be of 
value in developing the child. This last, however, 
is more largely a question of method than of se- 
lection of subject-matter. 

WORK FOR LOWER GRADES 

Painting Coarse sewing 

Drawing Dyeing, weaving 

Paper cutting and folding Clay modelling 

Pasting Cardboard 

Simple woodwork Use of sand table 

Stencilling and block printing Cooking 

Selections should be made from these and adapted 
to the children in carrying out the general thought of 
the grade and in the planning of the course of study 
for the lower grades. 

These general lines of work include the domestic- 
art subjects, which may be outlined more in detail 
as follows: 

DOMESTIC-ART SUBJECTS FOR THE ELEMENTARY 

SCHOOL 

The following subjects for all grades of the ele- 
mentary school may be considered for selection in 
the planning of work, regulated by age, grade, needs 



Il6 DOMESTIC ART 

of locality, cost, ideals, relation to school study, 
needs of home and schools, etc. : 

(i) Articles of many varieties may be made by 
the use of the following stitches: Basting, running, 
stitching, back-stitching, overhanding, hemming, 
blanket stitch, simple embroidery stitches, as Ken- 
sington, cross, chain stitch, feather stitch, hemstitch, 
couching, French knots, etc. 

(2) Seams — plain seam, French, and flat fell. 

(3) Patching — hemmed, overhanded, flannel; and 
Darning — stocking darning, damask, and cashmere. 

(4) Button-holes, plackets, putting on bands. 

(5) Simple embroidery: use of stitches — chain, 
catch, Kensington, feather, etc.; initials — embroid- 
ered, applique; couching, etc. 

(6) Textile work : weaving, study of materials, evo- 
lution of textile industry, properties, uses, dyeing, etc. 

(7) Cost of clothing : cost of dresses and trimming ; 
regulation of cost. 

(8) Care of clothing, repairing, cleansing; color of 
clothing; hygiene. 

(9) Household art: decoration, furnishing of 
rooms, color- work, design. 

(10) Simple garment-making (under certain con- 
ditions). 

(11) Co-operation with grade work in history, 
arithmetic, English, art, geography, etc., wherever it 
can be done with service. 



DIVISION OF SUBJECT-MATTER 1 17 

DISTRIBUTION OF DOMESTIC-ART SUBJECT-MATTER 

FOR SELECTION AS PART OF THE ABOVE 

WORK FOR LOWER GRADES 

Grades i and 2 

(i) Making of simple articles, in keeping with 
underlying ideals of the school and grade. Blanket 
stitch on canvas, running, basting (applied to 
articles). 

(2) Simple textile study, including dyeing, weav- 
ing, and simple comparison of textiles. 

(3) Care of clothing. 

(4) Furnishing of doll's house. 

(5) Christmas gifts. 

Grade 3 

(i) Making of simple articles in keeping with 
underlying ideals, using following stitches: Blanket, 
cross, running, basting, chain, and stitching stitch. 

(2) Continuation of textile study — simple evolu- 
tion of spinning and weaving. Comparison of 
textiles. 

(3) Care of clothing. 

(4) Designing of letters and other designs, accord- 
ing to articles selected. 

(5) Christmas gifts. 



Il8 DOMESTIC ART 

Grade 4 

(i) Making of simple articles in keeping with 
underlying ideals, using following stitches: Hem- 
ming, couching, overhanding, two runs and back- 
stitch, in addition to stitches in Grade 3. 

(2) Designs made for articles; color-work; design- 
ing pillows and table-spreads for applique. 

(3) Doll dressing; free cutting of patterns. 

(4) Christmas gifts. 

(5) Simple crocheting and upholstery. 

Crude work along all these lines should be ex- 
pected from young children, but the teacher should 
not be surprised if occasionally she receives unex- 
pected results. An occasional child will contribute 
something far beyond those of average ability, but 
under no circumstances should the children be 
forced to do fine or accurate work. 

By the time the fifth grade is reached greater 
accuracy should be expected and demanded along 
any Hne of hand-work pursued. If it is not de- 
manded at this time, the pupils will form slovenly 
habits of action which are not likely to be corrected 
later. At this point the hand-work may be divided, 
the girls receiving instruction in sewing and cooking 
and the allied subjects, and the boys in woodwork, 
metal, etc. If the plan is to introduce vocational 
work in the seventh, eighth, and ninth grades, then 



DIVISION OF SUBJECT-MATTER 1 19 

the first six years may be planned with this idea in 
view. Plans for courses of study in the grades will 
be discussed in another chapter on the factors 
involved in planning a course of study. 



DISTRIBUTION OF DOMESTIC-ART SUBJECT-MATTER 

FOR SELECTION FOR THE FIFTH, SIXTH, 

SEVENTH, AND EIGHTH GRADES 

Grade 5 

(i) Making of simple articles, using stitches pre- 
viously learned as review, and in addition: cross 
stitch, feather stitch, and Kensington stitch. 

(2) Designs for articles made. 

(3) Doll dressing (costumes of particular study or 
for modern garment-construction). 

(4) Textile study ; weaving of rugs as co-operative 
work, in order to learn parts of loom. 

(5) Christmas gifts. 

(6) Simple embroidery. 

Grade 6 

(i) Making of articles, using stitches learned in 
grades below, and in addition: French seam, placket, 
and putting on band, button-holes, and stocking- 
darning. 



I20 DOMESTIC ART 

(2) Textile study — comparative study of wool, 
cotton, silk, and flax, applied to purchase, use, etc., 
of articles made. 

(3) Designing for articles. 

(4) Clothing — best and most healthful kinds. 

(5) Christmas gifts. 

(6) Simple embroidery. 

(7) Biography of textile inventors — Eli Whitney, 
Arkwright, Crompton, etc. 

(8) Simple machine-work (where circumstances 
would necessitate the child's leaving school at end 
of elementary school course). 

(9) Simple knitting. 

Grade 7 

(i) Making of articles using work of other grades 
in review, and in addition: button-holes, herring- 
bone and feather stitch. 

(2) Simple embroidery. 

(3) Christmas gifts. 

(4) Textile study: discussion of early industries 
and evolution of their manufacture. 

(5) Economical buying and cutting of materials. 

(6) Design — in relation to things made. 

(7) Simple machine-work (where circumstances 
would necessitate the child's leaving school at end of 
elementary school course). 

(8) Crocheting of articles. 



DIVISION OF SUBJECT-MATTER 121 

Grade 8 

(i) Making of articles, using stitches previously 
learned. 

(2) Repairing, patching, and cleansing of garments. 

(3) Making simple garments. 

(4) Simple embroidery: towels and table linen — 
initials, hemstitching — doilies. 

(5) Textile study: quality, width, cost of materials. 

(6) Study in color and design applied. 

(7) Christmas gifts. 

(8) The home — furnishings, order, beauty. 

(9) Discussion of the relation of the girl to factory 
life, sweatshop labor. Consumers' League, etc. 
Development of social consciousness. 

The subject-matter suggested for Grades 6, 7, and 
8 may be too advanced for some localities and not 
sufficiently so for others. This should be adjusted 
to suit needs and would also depend on how many 
years may be devoted to domestic-art study. 

References for Study 

"A Sewing Course," Woolman. 1910 edition. 

"Teachers College Records." November, 1901; Janu- 
ary, 1906; September, 1906; January, 1907; May, 1907. 

Courses of Study of Public School Systems. 

"The Place of Industries in Elementary Education," K. E. 
Dopp. 

"The School and Industrial Life," James Earl Russell, 
"Educational Review," December, 1909. 



CHAPTER IX 

THE FACTORS INVOLVED IN PLANNING A 

COURSE OF DOMESTIC-ART WORK FOR 

THE ELEMENTARY SCHOOL 

Before a teacher can decide what is the most 
valuable and profitable domestic-art work for the 
„^ , . , children in her chare^e, she must fully 

The relation of t? > J 

domestic-art comprehend what is meant by the many 

subject-matter 

to general ed- lines of thought wh'ich go to make up 

Ilea ti on. , r i • ^^^^ 

that mass of subject-matter. Then, too, 
she must understand the conditions or factors which 
will most assuredly affect her selection of material. 
The subject-matter of domestic art has been fully dis- 
cussed in previous chapters. The child has a right to 
his inheritance and the possessions of learning which 
have come down to him from past ages, from the 
fields of literary, religious, scientific, institutional, 
and aesthetic learning. The institutions of the home, 
church, state, school, and society must interpret 
these riches to him and develop all sides of the 

122 



THE FACTORS INVOLVED 123 

child's nature. When we examine the many 
branches to which he is heir, we discover that the 
field of scientific and aesthetic learning, which may 
be interpreted partly through doing, is not the least 
part of his rightful inheritance, for the power to do 
and act is surely the indication of a liberal educa- 
tion. Domestic art is one phase of the ^^ doing" 
inheritance which comes to our girls and but a small 
part of the full inheritance to which they have a 
right. Teachers of this subject so often feel and 
act as if domestic art were the whole curriculum 
and do not see its relative importance. It must 
be given its proper amount of time, but not to 
the neglect of other studies, and in selecting the 
best subjects from this field of work for her class, 
the teacher must know not only what the possi- 
bilities of subject-matter are, but must see their rela- 
tion to the broad field of education and the factors 
which will naturally affect the choice of material. As 
subject-matter has previously been discussed, we may 
turn to consider the factors involved in selection. 
The teacher must know something of the physical 
and psychologjical nature of the child be- 

The child. ^ "^ ^ 

fore her. If she understands the physi- 
cal nature, she will be careful to adapt her work to 



124 DOMESTIC ART 

the physical development of the child. There will 
be no demand for fine results where there is not 
the development of the proper co-ordination of 
muscles to make the fine adjustments. The defects 
of eyesight and any physical troubles will be noted 
and the work planned accordingly. In schools for 
defectives, this would be a very important factor in 
planning any course. The psychical nature must 
also be considered; the laws governing interest, 
memory, apperception, habits, etc., if understood, 
will be a guide to the teacher in selecting, planning, 
arranging, and presenting the course of study. 

The environment and locality will most surely 
affect and influence the planning of a course. Is it 
Locality and f^i^ to supposc that work planned to be 

environment. ^f ^^^^^ ^^^ ^^^^ ^^^ ^^^j^ ^^ children 

in a district school will be appropriate or of most 
value to children in a select private school or in the 
Chinese or Italian quarter of a public school system 
of a large city ? So each course must vary to meet 
the needs of the children for whom it is intended. 
The industries of the locality, the peculiar conditions 
of the pupils, environment at home and at school, 
all are factors in determining what the choice of 
subject-matter is to be. Each locality with its par- 



THE FACTORS INVOLVED 125 

ticular environment is a law unto itself and must 
be handled so. 

Not all schools are free to spend the requisite 

amount for the introduction of domestic art or 

science. Some teachers are privileged 

Cost of the ^ ^ 

work and time to expend tweiity-five cents per child per 

allowed for it. . 

year, and others are sometimes ham- 
pered by an allowance of a few cents. If a teacher 
is versatile and ingenious she will be able to get the 
very best results with the money allowed. Some- 
times the children may furnish certain materials, or 
often they may be obtained by soliciting from dry- 
goods houses odds and ends, samples of materials, 
etc., all of which can be utilized in some way. The 
money allowed by a board or system of education, if a 
small amount, need not necessarily hamper the work. 
Although the amount granted does necessarily enter 
as a factor in the planning, and does sometimes 
regulate the amount of time to be devoted to the 
work, it need not be the means of producing a poor 
course if the teacher be ingenious. It is far more 
economical for a board to employ a well-trained, 
ingenious woman than one who relies on a definite 
sum of money in order to get certain results. Time 
enters here as a factor in planning. The arrange- 



126 DOMESTIC ART 

ment of the course of study will naturally be affected 
by the number of minutes or hours per week to be 
devoted to the subject and the cost regulated some- 
what by this allowance. 

The planning of the course of study is again 

affected by the ideals of the head of the particular 

school where the work is to be eriven. 

Influence of " 

head of the Perhaps the teacher may not be given 

school on 

domestic-art the freedom to plan and correlate her 
work with that of each grade, and again 
unjust demands may be made by the head which may 
not be in keeping with the right ideals for domestic- 
art work. This problem must be handled tactfully by 
the teacher, and she must plan so as to get the best 
possible results under the particular conditions. 
The teacher may believe that in the lower grades 
the best approach for the hand-work is from the 
neighborhood side, while the head of the school 
may be deeply interested in industries or primitive 
life. The teacher may wish the work of the upper 
grades to prove of use in making girls better home- 
makers, and the head may not feel the utilitarian 
value. The aim of each particular elementary 
school will surely differ, and the domestic art should 
conform to the aims. The aim of some ele- 



THE FACTORS INVOLVED 127 

mentary schools is to send their boys and girls on to 
high school to continue their education, while others 
realize that the children of their particular locality are 
forced to labor when the elementary course is com- 
pleted or even before, and must be given all the 
possible help during that short period. When the 
domestic-art teacher realizes the different aims, she 
will plan her work so as to give to each group that 
which will be of greatest value as each proceeds into 
business or higher school work. This may often 
mean the introduction, for instance, of machine-work 
quite early in the grade school, perhaps in the 
sixth or seventh year. 

The introduction of vocational work into the 
upper grades of the elementary school is one of the 
Vocational difficult problems which those dealing 

t6nd.6IlCi6S • 1 1 <• 1 r • 

must be con- With the courscs of study must face m 
sidered. ^-j^q near future. The readjustment 

must surely come, considering the large percent- 
age of children who drop out of school at the close of 
the elementary school and before, and those who 
continue their high school training for a short 
period only — for one or two years. The plan pro- 
posed by the City Club of New York for the read- 
justment of the years of study in the New York 



128 DOMESTIC ART 

public schools is a very interesting one and if ever 
adopted will prove of interest to those studying the 
development of education. The plan is to divide 
the twelve years of study (eight elementary and four 
high school years) into three parts: 

(i) Six years of elementary school work. 

(2) Three years of lower high school. 

(3) Three years of upper high school. 

The majority of children might then continue 
through the ninth grade instead of leaving at the 
end of the eighth, a gain of one year, the main reason 
being to drop out at graduation from the eighth 
grade. Few children have reached the compulsory 
school age by the end of the sixth grade, so that the 
temptation to drop out then would be slight. In 
the lower high school or what would be the seventh, 
eighth, or ninth grades would lie the opportunity for 
the introduction of trade courses, the ninth grade 
offering both trade courses for those who must drop 
out and also regular high school subjects as at 
present for those who will continue. This scheme 
is worthy of study and has been tried with excellent 
results in some parts of the Middle West. This 
possible introduction of the vocational work as 



THE FACTORS INVOLVED 129 

early as the seventh grade would mean the read- 
justment of the domestic-art course of study, or those 
trades centring in the needle. 

The social aspect of work should also govern the 
domestic-art teacher in her plans. She should know 
The social the home needs and conditions of her 
aspect. particular children and should see the 

connection that it is possible to make with the 
school. There is a big question of economy of time 
right here. It is certainly not economical of the 
pupil's time for a teacher to present those things, for 
instance, which the child may be learning well at 
home. Again, greater interest is taken if the prob- 
lems to be made are of value in the home or fit 
into the school needs of the children. The social 
needs of the locality may afford opportunity for the 
children to be of help and assistance to the hospitals, 
asylums, etc., by furnishing certain work for these 
institutions. In institutions of various types the 
needs may be so great as to furnish occupation for 
all the domestic-art pupils. These and other social 
aspects should determine the teacher's plan of action. 

The question arises very often, who is to direct 
this work — a trained specialist, or shall it be left to 
the grade teacher to work out under the direction of 



130 DOMESTIC ART 

the head of the school? The answer to this ques- 
tion surely enters as a factor in the planning of the 

hand-work for the lower errades and the 
Who is to ° 

direct the houschold-art work of the upper grades. 

domestic art? 

The trained specialist is needed to see 
the breadth of the field and to make the proper 
connections, but with training the grade teacher 
may be able to give the industrial work of the 
lower grades. 

With these numerous factors before us as influ- 
encing our plans and a good understanding of the 
What shall be ^^Id of subject-matter of domestic art, 
presented? ^^^^^ ^j^^^j^ ^^ ^^ difliculty in planning 

a good course of study. The question so often 
arises, what is the best thing to present, what shall I 
give to my children? It is easily answered. One 
cannot give all of the subject-matter as outlined, but 
one can choose from it that which will be of the 
greatest possible help to the group under one's care. 
There is another thought for consideration in the 
Shall it be planning of the course of study — shall 

merely prob- , , ^ 1 . 

lems or that coursc be a mere formal presenting 

thoughT'''*^ of a number of problems or shall it 
content? j^^ve the thought content which is to 

make it of greater value ? 



THE FACTORS INVOLVED 131 

There are two kinds of domestic-art teachers, 
those who teach only sewing or its related subjects 
and those who feel and present the thought content 
in which this field is so very rich. The one teacher 
is cut and dried — the other type, ingenious, versatile, 
quick, and alert. She can accomplish much with 
little means because of the richness of this field of 
thought which she knows. Her main aim is the 
child, the good of the child or girl, to give that 
which is of most value to her in this phase of her 
education. This content of the thought side of the 
work has already been discussed under the analysis 
of the subject-matter. The following outHnes may 
be suggestive for domestic-art courses, and serve to 
show the underlying thought content, the relation 
to local conditions as well as the possible relation- 
ship to other grade work. Outline II gives only the 
domestic-art phase of the industrial work for the 
lower grades. 



132 DOMESTIC ART 

OUTLINE I 

Student Plan 

Course of Study for Grades 1-4, illustrating the use of 
many lines of hand-work, of which sewing forms a part. 

Local Conditions 

Location. — Rural school in northern New York. 

Instruction. — By grade teacher. 

Time. — Twenty minutes daily for class work, but children 
will have spare time during session and outside of school 
hours for completing work begun in class lesson. 

Materials. — The school board will furnish only drawing and 
manila paper. It is not interested in hand-work and will 
allow no appropriation for other materials. The people 
of the district have given no attention to the subject, so the 
teacher will have to interest the children sufficiently to have 
them contribute a little money for materials which will need 
to be bought, and to bring from home scraps of cloth, paper, 
etc., as they are needed in the work. The people are farmers 
and nearly every house will have abundance of pieces in the 
store-room. Most of them will also give the children a few 
cents at a time when they see them much interested. The 
teacher herself may have to contribute. 

Number. — There will be about twenty children in the school. 

Grouping. — Grades i and 2 will work together. Grades 3 
and 4 will work together. 

Aim 

To form taste for home life, to arouse the aesthetic faculty, 
to broaden the outlook on life. 



THE FACTORS INVOLVED 133 

Subjects 

Drawing. — Usually on Tuesday and Thursday. Preceding 
Christmas the days may be changed to accommodate the 
kind of work being done. Paper furnished by school board, 
colored crayons and pencils by the children. 
Hand-work. — Remaining three days. 
Sand table. 

Paper-folding, cutting, construction. 
Simple sewing and weaving. 

Grades i and 2 

FURNISHING DOLL'S HOUSE 

The greatest possible economy must be used, therefore 
scraps of material which children can bring from home — 
without expense to family — must be utilized. All the furni- 
ture will be made from manila paper, the children varying 
the style of chairs, etc., according to the rooms and their 
original ideas. 

Scissors, needles, thread, thimbles will be brought from 
home. 

SEPTEMBER 

Drawing. — Grasses and fall flowers — attention given to 
direction and character of growth. 

Sand table. — ^^Lay out farm — hills, meadows, fields, pasture, 
orchard, pond or stream, sites for house, barns, etc., fences, 
rail and wire (thread can be used for wire, twigs for rails and 
posts). 

House. — A good-sized box will be found either at the school 
or among the farmers. Partitions can be put in by older 
children or teacher. 



134 DOMESTIC ART 

Plan rooms. — Downstairs — parlor, dining-room, kitchen; 
upstairs — two bedrooms. 

Paint. — Outside. 

Inner walls. — Kitchen — paint — why ? Other rooms — paper. 
Children can bring remnants of wall-paper from home. Dis- 
cuss color, style, etc., most suitable to each room. Children 
can select from papers brought. Use either entire pattern or 
selections as best adapted to rooms. 

Floors. — Kitchen — paint — easily cleaned. Other rooms — 
stain. Paints and stain will probably have to be bought. 

OCTOBER 

Drawing. — Fruits, vegetables, autumn leaves — work for 
pleasing arrangement. 

Furnishing of House. — Each child can make every article. 
What are necessary may be given to the house, and the others 
taken home. Those giving to the house may make a second 
for themselves. 

Kitchen. — First, because most important room in farm- 
house. Chairs, table, cupboard — fold, cut, paste — cut legs, 
doors. Stove — use black paper if possible; if not, mark for 
lids and doors. Roll paper for pipe. 

Dining-room. — Chairs. Table. 

NOVEMBER 

Drawing. — Vegetables, Thanksgiving subjects and illustra- 
tions. Design borders for rugs. 

Sideboard for dining-room. 

Rugs. — Weave square mat from kindergarten papers. Plan 
rugs — colors for different rooms, borders on ends, materials. 

String small piece of cardboard with holes for kitchen rug. 

Warp — heavy thread or yarn. 



THE FACTORS INVOLVED 135 

Woof — rags. 

Sand table. — Story of Pilgrims — sea, rocky shore, Plymouth 
Rock, snow-covered land, forest, ship on sea, etc. 

DECEMBER 

Drawing. — Christmas subjects and illustrations. 

Rugs. — Large for floors of all rooms except kitchen. 

Looms. — Four strips of wood — tacks to hold warp threads. 
Sticks and tacks can be found in any country home — older 
children can nail them. 

Dining-room. — Rags brought from home for this rug. 

Parlor. — Some children will have macrame cord at home, if 
not, buy. Use for parlor rug. 

Bedrooms. — One of rags, one of cord. 

String looms. — Weave — the rugs for the four rooms can be 
divided among the children according to the suitableness of 
the material they bring. 

Christmas gifts. — Sachet bag — kindergarten weaving papers 
— cotton filling — powder. 

Calendars. — Cardboard with holly design — tiny calendar 
pasted on — tie with red ribbon. 

Toy Christmas tree. — Spool for standard, green tissue paper 
for trunk and leaves. 

School Christmas tree. — Colored paper chains. 

JANUARY 

Drawing. — Christmas scenes, stories, and gifts. Winter 
games and sports. 

Doll House. — Bedrooms. — bedsteads, chairs, washstands, 
bureaus, one cradle. 

Mattresses. — Pillows — heavy cotton cloth — fill with cotton 
batting — running stitch, 



136 DOMESTIC ART 

Talks on cotton plant and manufacture. 
Sheets. — Fine cotton — run hems. 



FEBRUARY 

Drawing. — Illustrate stories — subjects relating to Lincoln 
and Washington. 

Doll House. — (i) Pillow cases. — Fine cotton — run hems — 
care of mattress and pillows. 

(2) Blankets. — White flannel from home — blanket stitch in 
mercerized cotton or yarn as children may have. 

Care of blankets. 

(3) Wool. — Growth, manufacture. 

(4) Comfortable. — Cheesecloth — blanket stitch edges — tie. 
Valentines. — Make simple valentines from drawing-paper 

and colored paper for decoration. 

MARCH 

Drawing. — Illustrated stories — objects of the season, kites, 
etc. 

Doll House. — Bureau scarfs and washstand covers fancy 
muslins — run hems. 

Parlor. — Chairs, table, couch. 

Couch cover. — cretonne, denim, canvas, etc., as children 
may bring. Blanket stitch on edge. 

Cushions. — Bits of silk, denim, cretonne, etc. — fill with 
cotton — running stitch. 

APRIL 

Drawing. — Spring growths — catkins, pussy-willows, etc. — 
Easter lilies, rabbits, etc. 

Doll House. — Window curtains for whole house — fancy 
muslin or net as children may wish. 



THE FACTORS INVOLVED 137 

Table cloth and napkins. — Linen from home — run hems. 
Use and care of. 
Talks on flax and linen. 

MAY 

Drawing. — Spring growths — leaves, flowers. 
Sewing for homes. — ^Napkin ring — canvas — blanket stitch 
edge. 
Dust cloth — cheesecloth — turn — baste — run — ^proper use of. 
Hair receiver — canvas — blanket stitch edges. 

JUNE 

Drawing. — Flowers. 

Drawings of April, May, and June made on sheets of uni- 
form size — tie together — children design cover. 
Sewing. — Dish towel — turn — baste, run — care of. 

Grades 3 and 4 

FOREIGN homes: INDIAN, ESQUIMAU, JAPANESE, TROPICAL 
SEPTEMBER, OCTOBER, NOVEMBER 

Indian Life 

Drawing. — Plants with flowers or seeds. 

Relative position and size of parts. 

Autumn leaves, fruit, vegetables — good arrangements. 

Thanksgiving subjects and illustrations — proportion and 
grouping — objects from Indian life. 

Sand table. — Indian village — forest — make wigwams — 
coarse canvas or bark — decorate with juice from berries. 

Bows and arrows — feather arrows. 

Dug-out canoe. 

Birch-bark canoe. 



138 DOMESTIC ART 

Snow-shoes. 
Cradle-board. 
Quiver. 
Moccasins. 

Make and dress Indian doll — heavy cotton for body — stitch 
— fill with sawdust — trousers, coat, headpiece — running stitch. 
Weave Indian blanket — yarn — heddle. 

DECEMBER-JANUARY 

Tropical Home 

Drawing. — Christmas illustrations, games, gifts, stories. 
Life in tropical homes. 

Sand table. — Palm trees — green and brown tissue papers. 

Huts — sticks wattled with raffia or hay. 

Weave mats of straw for roofs. 

Raffia braided mat. 

Hammock of cord. 

Christmas gifts. — Button bags — denim, canvas, cretonne, as 
children may have — stitch sides, run hem at top — may put on 
design in chain stitch. 

Picture frame — cardboard with raffia wound over it. 

Calendar — similar to those in i and 2. 

School Christmas tree — bell forms marked, cut, strung, red 
tissue paper. 

Lanterns — red paper. 

FEBRUARY 

Esquimau Home 

Drawing. — Winter subjects — Lincoln, Washington — Make 
cover for a Lincoln- Washington book — make a single valen- 
tine. 



THE FACTORS INVOLVED 139 

Sand table. — Esquimau village — -rock-salt for snow. Dress 
Esquimau doll in bits of fur — sled of wood. 

Sewing. — Dust cloth — turn, baste, cross-stitch — proper use 
of. 

MARCH 

Japanese Home 

Drawing. — Appropriate to season — attention to grouping — 
Japanese objects — lantern, parasol, fan, etc. 

Sewing. — Make kimono for doll — seams, running, hems, 
chain-stitch. 

Iron-holder. — Denim, cretonne, etc., as children may have. 
Baste edge of each side — fold and baste interlining. Baste 
edges together. Blanket stitch edge. 

APRIL, MAY, JUNE 

Drawing. — Spring growths. Easter cover for nature book. 
Sewing. — Hand towel — linen— turn, baste, run hems. Care 
of. Talks on flax and linen. 
Bean-bag — heavy cloth — stitch. 
Textile charts. 
Window racks and plant sticks. 

Cost of Materials not Brought from Home 

Grades i and 2 

Colored crayons (10 cents a package) $1.00 

Paint and stain 50 

Kindergarten weaving paper 20 

Macrame cord 10 

Sachet powder 25 

Calendars 10 



I40 DOMESTIC ART 

Cardboard calendars 05 

Ribbon .10 

Tissue-paper — green .02 

Paper for tree chains 05 

Total $2.37 

Per child 23 J 

Grades 3 and 4 

Colored crayons . $1.00 

Raffia . .20 

Cord .20 

Calendars 10 

Tissue paper .05 

Valentine paper 10 

Cardboard for calendars 05 

Ribbon for calendars 10 

Total $1.80 

Per child 18 

Note. — The above plan of student's work illustrates what can be ac- 
complished with little money. 



THE FACTORS INVOLVED 141 

OUTLINE II 

Student Plan 

New York City Free Private Grade School. — General course 
parallel to public grade school. 

Locality. — Poor neighborhood — most of the children go to 
work at the end of the elementary school. 

General Aim. — To connect with the home and neighborhood 
to raise the standard of living. 

Some Ideas which Control the Course of Study 
Grade I {fifty minutes per week) 

(i) Some underlying ideas. — Home life and surrounding 
occupations. 

Fall. — Farm life. Sand-table work. Houses, barns, sheds, 
fences, wagons, farm-animals. Materials of many kinds 
used. 

Farm life. A link extending to grocery, bakery, dairy, meat- 
market. 

Winter. — Study of a typical home of the neighborhood 
(apartment). Drawing, block-building, furnishing a play- 
house, activities of the home, dusting, cleaning, care of cloth- 
ing. Care of play-house and some care of schoolroom fur- 
nishings. 

(2) Clothing and shelter. — In relation to activities of home. 
Emphasize care of clothing; materials of which clothing is 
made: cotton, silk, flax, wool. Where comes from (very ele- 
mentary discussion of relation between plant or animal and 
finished product). 



142 DOMESTIC ART 

(3)* Some underlying ideas in carrying out following things 
to he made. — Crude results are expected. The aim is to make 
the child as creative as possible through use of principles 
taught. 

{a) Paint cloths — basting. 

{h) Canvas work — blanket and running stitch, napkin ring, 
etc. 

{c) Cord work. 

{d) Making of simple articles for play-houses — bedding, cur- 
tains, table covers, etc. 

{e) Farm life: 

(i) Basket. 

(2) Meal bag. 

Grade II {fifty minutes per week) 

(i) Some underlying ideas. — Home life and surrounding 
occupations. Comparison with lives of primitive people. 

Fall. — Farm life as related to our fall activities in the home. 
Farm visited, fruit gathered and preserved for winter. Fall 
housekeeping problems. 

Winter. — In place of a play-house, a ''real" room (rest- 
room or living-room, third floor) to be partially furnished and 
cared for. 

Esquimau children's activities, those of early man and 
American Indian, compared with our lives. 

(2) Clothing and shelter. — Comparison of clothing of primi- 
tive and modern people; of what made; how; tools used; 
names of materials — bark cloth shown; practice in elemen- 
tary spinning and weaving. Care of clothing at home. Prac- 
tical work in simple household decoration. 

(3) Some underlying ideas in carrying out things to he made. — 
To make the child creative through the use of ideas and prin- 
ciples taught. 



THE FACTORS INVOLVED 143 

(a) Paint cloths — basting. 

(b) Canvas needle-book. 

(c) Pin-cushion. 

{d) Christmas stockings. 

(e) Iron-holder. 

(/) Bean-bags. 

(g) Fitting up sitting-room (co-operative work). % 

{h) Overshoe bags. 

(i) Weaving. 

Grade III {One hour forty minutes) 

(i) Some underlying ideas. — Study of neighborhood occupa- 
tions. Comparison with some primitive people. 

{a) Farm life. More intensive study. Dairy farm; truck- 
garden; cultivation of fruits and cereals. 

Large distribution centres — milk-depots; beef storage house; 
freight station; wholesale vegetable market. 

(h) Comparison of modern agricultural and pastoral 
methods with those of Eastern shepherd and Pueblo Indian. 

(c) Beginnings of local history. 

(2) Clothing and shelter. — Relation of farm life to clothing. 
Comparison with that of Eastern shepherd and Pueblo Indian, 
How and where made. Simple processes of spinning and weav- 
ing in advance of the second grade. Use of heddle and other 
tools in evolution of these arts. Local history in relation to 
arts of spinning and weaving and production of clothing. Care 
of clothing. 

(3) Some underlying ideas in making of following articles. — 
Relation of things made to home and school interests. Crea- 
tive side of child nature to be developed; care in threading of 
needles, position, thimble, knotting thread. 

{a) Needle-book — canvas. 



144 DOMESTIC ART 

(b) Hand towels — running. Emphasis on threading, knot- 
ting, holding needle. 

(c) Paint cloths. 

(d) Pin- cushions — canvas. 

(e) Shoe bags. 

(/) Paper dolls dressed. 

(g) Textjle chart: (i) Comparison of textiles, (2) adapta- 
tion to use. 

Grade IV (One hour forty minutes) 

(i) Some underlying ideas. — More definite study of New 
York City as a whole. 

Main study: Some of the causes which led to its prominence 
and which tend to maintain it. 

Some study of various nationalities represented here. 

Some study of the commodities sent from other lands. 

Stories of sea-faring people of long ago (in connection with 
navigation). Norsemen, Phoenicians. 

New York architecture — buildings, bridges, streets. 

Stories of Greece and Rome, suggested by a simple study of 
political city organization. 

Housework — cooking, setting of table, care of rooms, care 
of clothes. Basis is found in trying to make the child his 
mother's '^ helper." 

(2) Clothing and shelter. — Study of Greek and Roman dress. 
Arts of spinning and weaving as done in Greece and Rome; 
materials used. 

Commodities for clothing sent from other lands. Produc- 
tion in New York — where — how. 

(3) Some underlying ideas in making following articles. — ^To 
inspire child to be mother's helper in home. Special atten- 
tion to proper use of tools in sewing; correct method of 
hemming. 



THE FACTORS INVOLVED 145 

(a) Paint cloths. 

(b) Pinball (2 circles overhanded; initials in chain stitch). 

(c) Hand-towels — hemming. 

(d) Christmas gifts, penwiper. 

(e) Clothespin bag. 

(/) Cover slips for home work. 

(g) Cushion top — design transferred — painted — couched. 

(h) Stuffed animals for stitching stitch. 

Grade V {one hour a week) 

(i) Some underlying ideas. — The dramatic development of 
our country. 

Discovery and Exploration. — Present geographical knowl- 
edge compared with that of people of the fifteenth century. 

India, and the wonderful stories told about the East by 
the Crusaders. 

Period of Colonization. (Up to the time of the quarrel with 
England.) 

Typical colonies studied. New England, New Amsterdam, 
Southern Colony. 

Biography. Brave men who helped build our country. 

Housework. — Learning to be helpful at home, continued 
from Grade IV. 

(2) Clothing and shelter. — How made — beautiful fabrics — 
simple tools. Columbus bartered for cotton. Materials and 
clothing in use in East. Herodotus's description of Indian 
cotton. Early travellers' story of cotton as animal. Biogra- 
phy: Eli Whitney, Arkwright, Hargreaves, Crompton, etc. 

(3) Some underlying ideas in making following articles. — Cre- 
ativity on part of child centring about helpfulness in home. 
More careful work required — neatness, accuracy. Correct 
position of body, tools, and work. Discussion of cost and 



146 DOMESTIC ART 

kind of materials used. Economy in buying and cutting. 
Care of materials and tools. 

(a) Duster — cross stitch. 

(b) Pinball (design in Kensington stitch). 

(c) Christmas gifts. 

(d) Laundry bag (feather-stitch). 

(e) Doll dressing — simple notion of drafting and of gar- 
ments in use. 

(J) Furnishings for doll's bed. 

Grade VI (one hour a week) 

(i) Some underlying ideas. — The development of the nation 
to the time of the slavery troubles and the division of the 
Union. 

Modern and immediate life remains the key-note here as in 
previous grades. The past is drawn upon to illumine the 
present. Problems of transportation, industrial development, 
and economic growth will be viewed from the stand-point of 
the present. 

Literature will deal largely with stories of heroism and 
chivalry. History and literature will frequently, though not 
always, supplement each other. The mythical element slill 
appeals to this age, and the myths and sagas of the Northland, 
the German tale, will be treated as carefully as will the purely 
biographical material. Lives of great men studied: George 
Washington, Benjamin Franklin, Daniel Boone, Alexander 
Hamilton, John Paul Jones, Thomas Jefferson. 

Housework — Girls. 

Shopwork. — Boys. 

Geography of South America and Europe. 

(2) Clothing and shelter. — Districts located where clothing 
materials are produced. Manufacture of clothing in South 



THE FACTORS INVOLVED 147 

America and Europe at this period. Now — where — history of 
it. Development of spinning and weaving. Economic rela- 
tion in United States between production of materials North 
and South. Their transportation, location of mills and fac- 
tories. Cotton, time of slavery. Silk, wool, flax. 

(3) Some underlying ideas in making following. — Careful 
work — knowledge of home things — helpfulness and use in 
home, neatness, accuracy. Machine work started. Discus- 
sion of simple machinery. Economic cutting, and buying of 
materials. Care of tools. Patterns made for skirt. Collec- 
tion of cotton and wool materials to be mounted in book for 
use in grade. 

{a) Cuffs (cooking costume). 

(6) Needle-books. 

(c) Christmas gifts. 

{d) Darning. 

{e) Ironing-board cover. (Machine work.) 

(/) Cooking apron. (Machine work.) 

{g) Skirt. (Machine work.) 

Grade VII (one hour a week) 

(i) Some underlying ideas. — As in Grade VI. The develop- 
ment of the nation is treated as a retrospect. The present 
must be illumined. History is continued, up to the .current 
history, in the making. 

Geography deals not so much with familiar conditions. 
Asiatic and African lives are contrasted with our own. 

(2) Clothing and shelter. — Processes in manufacture and 
making cloth. Printing, dyeing, bleaching. Removal of 
stains from clothing — care of clothing. 

(3) Some underlying ideas in making following. — Home life 
and interests of girl as centre. Social consciousness to be 



148 DOMESTIC ART 

developed through making for others besides those in home. 
Economy in buying and cutting. Use of patterns. Neat- 
ness, accuracy. Collection of materials, silk, and flax, for 
mounting in book. Hygiene of clothing — dressing of a 
baby. 

(a) Broom cover. 

(b) Crocheted slippers. 

(c) Jelly bag. 

(d) Pot lifter. 

(e) Combing towel. 
(J) Baby wrappers. 

Christmas gifts for those who have time to make them. 

Grade VIII (one hour a week) 

(i) Some underlying ideas. — Main study: How other coun- 
tries influence our development. 

Civics furnish the point of departure for a study of Greece 
and Rome. 

Social and economic conditions of western Europe which 
influence us most strongly. The development of guilds, trade 
unions. 

(2) Clothing. — Discussions. Development of factory life 
and conditions. Relation of old guilds to industries. Sweat- 
shop labor, Consumers' League (continuation of idea of 
development of social consciousness starting in 7th grade). 
Economy through care of clothing by repair, remaking, 
etc. 

(3) Some underlying ideas in making following articles. — 
Home life and personal interests of girl considered. Use of 
patterns, care, and neatness in machine stitching. Economy 
in buying and cutting. Collection of samples of lace edges 
and insertions. Cutting lessons in paper (plaid). 



THE FACTORS INVOLVED 149 



(a) Hemstitched towels (lettering). 
(6) Patching begun. 

(c) Christmas gifts. 

(d) Remainder of patching. 

(e) Drawers or petticoat. 

(f) Shirtwaist. 



I50 



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154 



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THE FACTORS INVOLVED 



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o 

M 


o 


















1 




> 




s 


Xfi 


t/3 




















ixo 




o 




1 


o 
o 

• l-H 

'S 

.s 


W 

o 
o 




M 


















Co 

t-H 


o 
o 

CO 


o 

en 
<L> 

Pi 

^— <• 

M 



THE FACTORS INVOLVED 



157 



o 
o 

-B 

.s 

a) 

en bO 

a 






<L> 

tn 

M 

a 

^3 O 

^ a 

M O 

o rt 

• r-l 

s -^ 



bc 

a 
a 

<u 






•I— ( 

a in 



-4-» 

o 

d 

u 



a 

a 

o 

1 



t/3 

CO 

O 

O M 

O O 

Oh 



bC 



»H CO 

>. a 

bO 
C/3 



• rH *-< O 

-?? -^ ^2 

o 



? ^ 



bO 

PI 



bX) 
• 1— I 



•i-r C/3 

bO <=^ 



•d '^ 

g a 



2 d 

o .Sf 
P Q 



bx) 

d 
•i-H 

d 
o 
o 



t3 

a 

CO 

d 

bO 
• 1— t 
m 



'-' d 



bp d 

•C o 

o a 

o o 

8 g 

'^ a 

d ^ 



C/2 



03 




Cj 









;-i 




M 




■*■» 




X) 




g 


0) 

3 




• i-H 


to 
'cS 


cn 



•m 


Oh 


<u 


<4-i 


•»-> 


• 1— 1 


a 




a 


wT 




1— ( 




•>^ 


d 



a 


-4-> 









Cfi 




-t-> 




• 1-H 


*4-4 


Cfi 





•^ 


0) 

d 




•4-) 



d 






d 


Cl, 


d 




d 


^ 


a 





bO 


d 


d 





d 


CD 


d 


H 





d 

d 

d 

o 
-d 
u 

C/2 



c^ 



g 

d 
H 



CO o 

g ^ 

rd ^ 

10 d 








c3 






ro 


r\ 







-*-> 


.LI 




Oi 


C^ 


bO 







^ 


>-< 


^^ — s 





u 


U 


d 



u 


,,-^ 


,,-^ 


^^-^ 


10 


« 


^ 


-0 



ro 



(U 
tn 

0) 

'^ p a 

Jh >-i O 

d Ph tJ 

rd U 



iS8 



DOMESTIC ART 



J§ 


CAl 


Q 


a. 


•^ 


^ 


o 


in 




O 






^ 


-*-> 




^ 




I— 1 


1^ 


<u 


t^ 


^ 




Ti 


;^ 


>— H 




O 




^ 


1 





0) 



US 

o 



?3 







t 


bb bb 

fl (=1 

• t-1 'I-l 














•a 











CO 
0) 
CO 












h 




1" 










43 


o 5 










<u 
























J3 
o 

ei3 




o 




H 




I 

•I— 1 


CO d 

It 

CO op 

<u d 






d 

CO 

Q 


1 

o 
o 


-d 
-a 

CO 


M 


<u 

2 




<=> § 

CO 
^ CO 

^ 'S 


§ 
1 




-C5 


1 §; 






• r-4 


CO 
CO 




c3 
<U 
>>> 

«-M 
O 








O 
U 




o 


bo O 






1^ 




o 


«4-l 
O 




^ 


o 
o 

H 




•■+3 

a 

8 


1 ^ 

3 « 




CO 

•5 
o 

V-i 


bC 

.a 


o 


a 

o 

a 
a 

bO 

2 

j2 




bO 


bb 

• 1-1 


-d 

« a 

1) Co 






•1— 1 

cn 


.a -s 

w 1 


o 

CO 


bO 
•1— 1 

a 




.a 

bo 

.a 


a 

o 
o 

2 


bb 
•i— 1 

o 


-4-J 
• i— 1 


a 2 

CO 8 

•4-1 *^-^ 

^ 

bO 'cS 






CO 


M-H CO 

o <u 


.g 


bO 


CO 


^ 


bo 


o 

CO 


^ 


Z 
d 


.a *ci 






• 1— 1 




CO 


3 


• I— 1 
C/2 


0) 






• r- 1 
CO 




CO 










CO 










o 

•4-> 




'd 'd 


H 
(J 




'bJo 


? 




c3 












c3 c3 






• I— 1 






'o 

O 










O4 




a "5" 




'S^ 


o 

8 


§- 




C/2 










a 






^3 
O 




CO 
«5 




bo 






bb 






co^ 
^ <u 

CO CO 

^ 


M 


T3 


1 




CO 

a 




bb 


o 

o 




bO 




CO 


O 
O 


•i 




CO 




■4— » 
CO 




• r— ( 


CO 

bo 




•S3 


-)-» 




^ 


Co 


(J 




U 




p^ 


's 




f^ 


a 

<r3 








/— >, 


(U 




/—^ 




,,— V 


c3 




^-~^ 


'^ — . -^ 




hA 


H 






CN 




fO 


ft 




^ 
































THE FACTORS INVOLVED 



159 






:3 
u 

a> 

^-^ 
o 

I 

O 

■*-» 
■*-> 

bB 

a 
•a 

<v 

to 

a 

wT bb 



o ci 
Ah 



lO 



8 

I 
I 






> 

V 

I 

O 



bC 

C 
•i-i 

CO 



o 



6 ^ 

si «^ 

to 
V O 

2 g J 

^.2 o 

^ -^ •*^ 

0) O __( 

•^ a 

o S 2 

bO '^ 

■ ^ i 

rt .a 

.2 bO 



to 

a> 



^3 

^ o .S 

rt fl u 

c^ 8 ^ 



a 

o 
2 



• 1— I 

u 
.0 



o 

T3 

5=! 

tn 
O 

H 



^ 



Sl :3 3 ti c^ 
?^ o O ra CD 

cq PQ H CJ &. 



^ >— < 

a -H 






. O <u <U c^ 
,• crt O ^ -— J rj 

O P Ah P c^ ^ 



^3 





0) 




u 









i-i 




& 




•—1 




cd 




iJ 




-4-» 




tn 


^^^ 


;3 


V3 


Tl 


^ 
S 


C3 

•l-H 


<a 




-^ 



-4-> 





r! 


fO 









■| 


-4-» 


u 



-I 2 

a 
a 



<u 






W 
H 

12; 
o 

o 

H 

w 
o 
t2 
o 

W 

H 



C/3 
H 
O 

W 

Q 

CO 

w 

CO 
CO 

W 

o 
o 
p^ 



CO 
CO . 

(J 

2 



d 
•I— I 
-a 
u 

c3 



bo 

.§) i^ 
*co Vj 

<U CO 

P ^^ 
.0 



Oh 



biD 



^3 



<u 

CO 

'^ bO 
. d 
-^ IS 

O -t-> 

•^ CO 
4) 

.a ^ 

-d .SP 



o 

•i-H 

M 

Oh 

Oh 



bO bp 

J3 CO 

^ pq o 

O c« 

CO d 



a 



c3 



1^ 

O 
C! 
O 
o 



.^ C/2 U C/2 W 



a 

• rH 

CJ 

a 

a 

T3 



'd 




d 




ci 


^1 


J3 


f" 




M 




;3 


<^ 





S 


^ 






^ 


^ 


^ 


rj 


^ 


'^-' 



b£» O 
c;i ^ 

3 O 
cJ O 

H-1 H 



o ^^ 



i6o 



DOMESTIC ART 






5^ 



H 

w 

H 
"A 
O 
U 

H 
W 
O 
& 

o 

W 

H 









<u o 

O x) 



03 






o 












-B rt 



CI. 



<u 



-3 o 
O H 



a 

o 

O 



o <u 

o .» bo 

-^ 3 .s 

s • ^ 

o ^ o 

^ .S3 "^^ 

o 'C o 

^ <U rti 

.iJ S U 






.X3 






§ 

. bO 

« .s 

ft Pi 
^ Jn 



c^ r^ 






en 

s 

o 
o 



o 

O 

u 
o 



bo 

o -^ 
T3 Td 

o ■tj 

ft 



o 
o 






o 

& ° I 

^ So 

CO Cfi tn 

>H 5:^ O 

O P tn 

+3 cfl "^ 



<U 



'o 

o 
o 

(73 



O 

'o 

o s 

bC ri:1 

CU13 
o Td 

• i-H 
> 

• 1— I 



en 
O 









(U 

-4-> 
-4-> 

o 

bb -^ 

l-g 

& o 
H 



<U 

en 
<U 
CJ 
O 

Oh 

O T? 

bp c3 
fl O 






d 

en 
;-( 

'bb 



U 

O 
bO 

• 1— ( 

-t-> 






H 
U 

W 

o 
Pi 

w 

en 

W 

o 
o 

Pi 



en 
bO 






_1 en 
tn '-' 

O c3 



CJ 

(U 

c3 bJD 
O .J::! 



bO 

•1— I 



biO W) 
.S (U 



en 

O . 

-^ S 

^^ O 

•IS c3 



> 

• 1— t 

-4-J 

c3 
(U 

o. 

O 
I 

o 
o 



biD 



bO 

1 

Td 

S bJD 

2 -a 

o a, 

' ■ en 



o o 



. en 
en <u 



bX) 
ill 



en 

:^ c M !:5 ti 

a <u c3 5? d 

M Td ^ ►^ -n 

W ^ O ^ Ah 



ro 'S -Cs 



THE FACTORS INVOLVED i6l 



T3 4) 

to ^ 

Co 



& 






o g 

S ^ s 

> "^ e ss ? I 3 

•-3 <U 2 <I) S 

8 ^ g 8 I 



+3 .-g «4-i "^ ^3 

§ i^ S^ 



S § .^ 11 Mo 

c 00 .t^ i::^ »-i HH ^ M 

H O 



l62 



DOMESTIC ART 



-^ 
^ 
^ 



Hi 



O 











o 




P4 


2 4i 




O M 




•- y 




^-< ;3 




t3 - 




P^ 



THE FACTORS INVOLVED 163 











, 




































































































































en 












































g 






>^ 










p:^ 
















>L, 












•<-i 






bO 










bo 
















u 












en 






^ 










I— « 
















en 












rt 






.2 



























*a 












^ 






'« 










'S 


























B 
C/3 






>» 








^J 


>» 
















2 
















X3 








>- 


jC 
















X 
















Ph 








<: Pk 
















U 




10 






















to 






















to 






















t^ 




























































- 














a 




















•4-J 




li 




















.2 

-4-« 




















§ 
























u 










































3 




















a 




^ 












4^ 






*-> 


















d 










1 














rt 




'w^ 













!3 




^0 








>^ 












1 


en 


13 

c3 


bO 






(i3 

•T3 


en 


i 




•4-> 

.2 






bO 




i 







tn 








a B 


X3 




XI 
C! 


1 


en 


X) 

a 


a 

1 

(U 





>-4 

XI 










.a 

X5 






.1-1 












a, 


_^ 




C 

X) 

en 

S5 


4-> 

C! 
<L) 

B 

bO 


g 


a. 


^ 


^ 


rt 






^ 




X3 




en 








ter skil 
roidery 


(U 

'0 

>-> 


c 

en 

73 


13 

en 


1 


a 


T3 

en 

Xl 


0) 


XI 



X 


'en 

<L) 

Q 








<L> 




en 
en 
(U 


bb 

X) 


> 










Grea 
Emb 
Emb 




(U 




2^ 

u 


*S 


<u 














c3 3 a 

aj rt (u 










0) 

.s 

IS 

a 

73 




43 


IS 














en 

a 

1-4 

a. 


4.J 


C 


a 

X3 


1 

<U 

C 


1 

XI 

'o 

a 



1 

'a, 

Oh 


en 

C! 


XJ 

si 

X CO 


en 
bX3 
C3 



5 

en 


en 

C! 

.2 

'en 
en 


d 


a 

CU 


bb 


a 





















<4-l 


J3 


C! 


. 


en lU 


rt 


<U 






'O 


X) . 


raftin 
itting. 


c3 

C 
C3 


u 

1 


.s 

'S 
*o 


bO 


0. 















bC 



X) 
nJ 


lis 

a, 

^.a 


X 



a 

bo 


en 

X 



en" 
i-i 


en 

en 
c3 


en 

c! .2 

d ■^-> 


P Ph W 




^ 














p 




W 


en 




h 




QO 






a 


en 

i 




















slip-over, 
sign em- 








i 

'2 












(U u 
> *-' 






















c 


XJ 


^ 






3 












.'-s 


;:3 




















& 




Si 

(U 

2 

XI 






<4-l 












orset C 

(Simpl 

lace. 






















ight-go 
Simple 













i 

X 



a 

c3 






U 






















12; 










p^ 




Ph 


Q 







i64 



DOMESTIC ART 



I 






Co 



w 

w 

H 

O en 

H pq 
»5 CO 

<I 
H 


Art 
Hygiene. 




O 


o 




1 

H 

;?; 
o 
u 

S 

o 
p 

s 

H 


Suitable and appropriate bedroom 

furnishings. Cost. 
Artistic furnishing. 
Greater interest and knowledge. 

Home life and activities. 
Bed furnishings. 
Material. 
Care. 




en 

U 
O 


Original design ap- 
plied. 

Discussions, etc. 

Collection of sam- 
ples. 




i 


1 
S 

i s 











«0 



bo 





w 

w 

H 

O en 

w CQ 


Art. 

Arithmetic. 

Industries. 




H 

en 
O 
U 




- 


1 

H 

O 
U 

g 

s 

H 


Design. 

Good taste in dress for school. 
Textile. 

Shirtwaist material (quality, width, 
price). 




en 
en 

M 
O 
O 

P4 


Taking measures. 
Drafting. 
Fitting. 

Collection of sam- 
ples. 




PROBLEM 


•a 



THE FACTORS INVOLVED 



165 



3 






c 
to 

c 

bO 

c 



13 

On 





a 


• 


hn 


rrt 


X) 




3 


>-i 




OJ 




-t-> 


i-i 


ISJ 


<u 


s 


4-1 




m 



O en 

^ 3 

en O 

C en 

1) 3 

bO O 



£3 
V 

a 

bO 

3 






<1J _ 
1^ O) 



bC tn 

■5 « 



43 « 



bO 

g 

IS 

'-I —^ 
o 



(D 



.2 



. «5 
tn u 





I-I 
3 


1^ 
a 


.S2 


3 


OJ flj 










4-> -M 


a 


«4-l 


(Tl 


D 


u 
o3 o3 


-^ 


a 


3 


u u 




3 

■!-> 





B- 


, 













a 









bO 



o 

Id 
3 

a 

o 

3 
O 
O 

W 



4; 3 
3-2 

fa <-> 

a, '^^ 

en 

.a '^ 

"t bO 
en Ji. 
en .g 

4-' CO 



^n c^ 3 

w) c -n .2 

.a bb|3 ii -g to- 

4i 3 nd ej oj cS 

J2 .+i Oil « o ^ 

O P^ W U 



•Si 
I— t • 

D4 en 
S3 



-CJ 3 

3 
«3 



dj 1— I 



<L) 3 • i; .t: g .a 






3^^ 

I -S .a 

3 ■»-• 3 



i66 



DOMESTIC ART 





g 




•s 






































M 










































H 
O M 




3 










i 
































ya 


^ 








53 
































>1 
S3 
.S 


























'B 






X! 
ci 

<u 

o 




< 
W 






1 








1 


















en 

Td 
a 
I— ( 


< 










O 










o 


o 










o 






o 


. 








H 




vn 










o 


o 










o 






o 


en 








w 




• 










t 




















a; 








O 














CO 


4 










fO 






d 










U 














«©= 


















M 


s 






yl^-m^ 










































r^ 










































^ 






<L> 










v 








TJ 


















Q 
^ 






a 

73 




!8 














a 
.a 




.^ 














U 

^ 


H 

w 

o 
u 




'o 
o 




l4 






•4-1 

O 

4-> 








n 

1 




IS 












1 


1 




C3 

.2 

N 

■*-> 

c 




O 
en 














1-4 












en* 

en <U 




1-4 

i2 bb 










•4-> 






.a 




.2 








0) 

o 


en 

i-< 
0) 

XI 

4-> 


2 


a 

3 


en ±i 

U '^ 

Td _g 

G gj 


>. 


rt a, 
X &, 
*^ o 

O X 


r^ 


o 






C3 






.c 






c 




,i4 


o 


Td 


1n 


«^ «3 


3 


-4-> en 


^ 


W 






0^ 

a 








to 


-55 




^ 




nd 


o 




O 
u 


0) --H 

-4-> ' 1 

en ,, . 


3 
en 


c3 C5 


t 






a 

o 
c 
o 

(J 




> 

0) 






3 a 


8 




'g 

a 

o 


en 


0) 
en 

<U 
u 

a 


s5 
bO 

.a 

'o 


*3 

en 




1) 


r3 <L) 

c^ 13 






W 




Q 






C/3 




ooo 




1— 1 


p 


-t-J 
CO 


QO^ 


H 


l-H 


<» 

1 






o 


















8 

«4-l 

o 

G 

.2 

3 
jj 

3 


en 








1 
"13 


O 


en 

C 

1-4 

ti 

c3 

Ph 

-t-> 

X 

to 

p 
o 

X! 


13 

G 


(3 


W 

o 
o 




Oh 

o 




1 
13 


(11 


o5 

o 


6 

G 
O 

X! 


1 

a 

u 

3 


.a 

> 

o 


bb 

c 

'a 
.a 


•^ 
bO 
.3 

IB 

u 
CO 








a 
.a 


G 

O 

-M 

-4-> 

G ^ 
'^ Td 


.G 

*n 

o 

.a c 

C bO 
S '53 








H 




>PM5pi;muHo 








u 


< 




H 












1 


1 






















v-l 


en < 
















ej 

a 




en 
en 




















o 

en 
en 


1— 1 -'-' 




G 

a, 












O 


Xi 

■*-> 

o 
















o 

a 








•S* 






O 


1 

•S 


tc . > 
cj O iJ^ 

P^ fjH P^ 


c 
is 

'5h 


2 

id 

C! 

(U 

tn 


1 

fe 
^ 

g 












X3 






'en 

l-l 

o 

O 
O 


a •- 

K en 

^ Si 

X Oh 

O a> 


bb 

.a 

G 

i 


1 

.SP 

*en 

a 



THE FACTORS INVOLVED 



167 



W 



. :3 



J3 








C! 













■*-» 




c3 




u 









> 




cj 


(U 


m 




rrt 


'0 






bn 


.s 




s 



C 


b3 

a 

en 
fn 





<u 



H Q 



g c3 



♦- MH ■kr> 



li •*-• 



o 

u 



S J3 



4j tn 



^ v^ 



73 a. 

ej O 






o c^ <u 



bO 

CD 



o 

;3 



300 



H O P^ O t/2U U 






CD bO 



<1> 



<u O -CI 



0) 



M)8 



5S C3 



o ■*-" 
o o 



^ 42 
P^ p:: 



(U 



to 

o 3 



t3 13 ,2 
p:^ P^ ^ 






l-^ -i-> w-i !^ ■*■' 

cu.-ti a o '^ 
< fe U U 



.2- 
"a. 

Oh 

u 



Ph 



o -s 






.bp f 

"55 "xj 

c3 



S « 

73 ,i<i +3 ^^ 



fl (o i: 1-! o 'o 

■§= « S i ;^ 5 



o 

u 

O rt 

3 o 
a. -^ 

o 'J 
U 



nJ 



:3 . 

CLi -w 



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l68 DOMESTIC ART 

OUTLINE V 

Student Plan 

course of study for the elementary schools 
Fifth, Sixth, Seventh, and Eighth Grades 

The city for which this course is planned is located in the 
western part of the United States, in a beautiful valley, one 
of the most fertile and prosperous farming districts of the 
State. The city was first settled about fifty years ago, and 
has at present a population of six to seven thousand inhabitants. 

It contains three knitting factories, several stores, and three 
or four respectable places of amusement, a public library, 
several churches, etc. 

The nationalities represented are Scandinavians, English, 
and Americans. 

The largest percentage of the population make their living 
by farming, many of them living out on their farms in the 
summer and moving into the city for the winter, so as to send 
the children to school. 

The public schools have two large central school buildings, 
with eight smaller ones scattered through the city, some of 
which contain only two rooms. The number of pupils en- 
rolled is about 1,496, with an average number per teacher of 50. 

The schools are very crowded and in great need of more 
buildings, which will be put up as soon as financial circum- 
stances will allow it. 

A special supervisor for primary grades has been provided, 
and excellent plans for constructive work, clay modelling, etc., 
have been introduced with very good results. 

Other manual training work has not yet been introduced, 
owing to the lack of funds; so this course of study for the 



THE FACTORS INVOLVED 1 69 

upper grades has been planned with the end in view of making 
as few expenses for the school as possible, and still giving the 
girls a course of study which would be of value to them. 

The work is to be given by the grade teacher, under the 
direction of a domestic-art supervisor, and will have to be 
given in the regular class-rooms until more buildings are put 
up. 

Machine sewing has been left out, partly on account of the 
expense involved in getting machines and of finding room for 
them, and also because two-thirds of the girls will continue 
one or more years in one or the other of the high schools. 

The material is to be purchased by the children; they are 
not poor, and the parents will be perfectly willing and glad to 
pay for it. 

The aim of the course is to make the girls helpful at home 
and in society, independent, and appreciative of good work, as 
well as the many opportunities they have over those of their 
parents. In the study of textiles, comparisons may be made 
of the past and present conditions in the West with those of 
large manufacturing centres in the East, and reasons shown 
why the woollen mills in the West cannot successfully compete 
with those in the East, and foreign lands, etc. 

Whenever possible, the work in domestic art is to be cor- 
related with drawing, nature study, arithmetic, history, and 
geography. 

Equipment, such as needles, thimbles, scissors, etc., will 
be provided by the children, while illustrative material and a 
few boxes for supplies and finished work will be provided by 
the school. Most of the work should be kept for exhibition 
to be given at the end of the year, especially for the first two 
or three years. 

For between work the children could make a second article, 
and at the end of the year this could be disposed of in some 



lyo DOMESTIC ART 

way, and the money go to an equipment fund , which should 
be kept until more buildings are put up, and rooms fitted 
equipped for sewing. 
The schools are in session thirty-four weeks of the year. 

Grade V (Fifty Minutes per Week) 

Some Underlying Ideas. — 

(i) Home life and siurrounding occupations. The sheep in- 
dustry. Indians and the early settlers. 

(2) Clothing and shelter. — Relation of farm life to clothing. 
Comparison of early pioneer life with present time. A study 
of wool, cotton, linen, silk — making a chart. 

(3) The underlying thought in making the following articles. 
Care of clothing and furniture. Tools. Also care of what 
belongs to others. School property. 

HOURS COST 

8 Work-basket. (For tools) $0.05 

3 Canvas pin-cushion. (Basting and blanket 

stitch) . . » . 0.05 

3 Dust-cloth. (Basting and rimning) .... 0.03 
8 Book-cover. (Stencilling with outhne — over- 
handing) original design 0.15 

8 Laundry-bag. Basting, hemming, stitching 

stitch) 0.25 

4 Preparation of textile chart . 0.02 



34 $0.55 

For between work initials may be made on the laundry-bag 
in cross-stitch or outline. Design made in class. 



THE FACTORS INVOLVED 171 

Grade VI (Fifty Minutes per Week) 

Some Underlying Ideas. — 

(i) Study of the development of West. Problems in rela- 
tion to transportation. Comparison of conditions in the East 
and West. Comparison of prices of material with those in 
early days (as much as a dollar was paid for a yard of calico). 

(2) Clothing and shelter. — Industrial resources. Processes 
of wool and cotton before weaving. The suitability of these 
fibres to clothing. Visits to knitting factories. Simple 
machinery discussion. 

(3) Underlying thought in making the following articles. 
Helpfulness in the home. Cleanliness, neatness, accuracy. 
Correct position. Simple drafting. 

HOURS COST 

3 Needle-case canvas. Blanket and cross stitch $0.05 

4 Jelly-bag. Hemming and overhanding. Tape o. 10 

9 Wash-cloth. Knitting 0.05 

4 Darning. Stockinet 

10 Short kimono. French seams. Facings . . 0.35 
4 Dish-towel. Hemming o.io 

34 I0.65 

Grade VII (Fifty Minutes per Week) 

Some Underlying Ideas. — 

(i) The development of the nation. Large industrial cen- 
tres. How other countries influenced our development. 

(2) Clothing and shelter. — Weaving. Primitive methods 
used by the Indians. Printing, dyeing. Study of silk and 
linen. Properties. Suitability of materials for different uses. 



172 DOMESTIC ART 

(3) Underlying thoughts in making the following articles. 
Social consciousness through making for others besides those 
at home. Economy in buying materials. Cleanliness, orderly 
housekeeping. Original designs for weaving and table-cover. 
The artistic side of decoration emphasized. 

HOURS. COST. 

7 Cooking apron. Gathering, band, button- 
holes . . . $0.25 

10 Rug. Weaving 0.20 

10 Table-cover. Applique 0.40 

4 Patching. Overhand. Hemmed . . . . .... 

3 Work-bag. Free construction o.io 

34 $0.95 

Collection of samples of materials, with price and width. 

The rug is to be made in a certain number of squares of a 
definite size. Each girl makes a design and the best one is 
selected. The rug when finished is to be disposed of and the 
money to be kept for equipment. 

Grade VIII {Fifty Minutes per Week) 

Some Underlying Ideas. — 

(i) European countries which influence our market. Com- 
modities for clothing sent from other lands. 

(2) Clothing and shelter. — Development of factory life and 
conditions. Economy through care of clothing by repair, re- 
making, removal of spots, etc. 

(3) Underlying thoughts in making the following articles. 
Home Hfe and personal interest of girl considered. Economy in 
buying and cutting. Home decoration. Simple drafting for 



THE FACTORS INVOLVED 1 73 

underwaist. Design for embroidery. Neatness in dress. 
Choice of color. Collection of samples of lace edges and 
insertion. 

HOURS. COST. 

6 Towel — hemstitched $0.20 

10 Underwaist — simple design in eyelet .... 0.40 

4 Repairing — ^various kinds 

4 Napkin 0.30 

10 Cushion-cover 0.50 

34 $1.40 

These outlines deal with the domestic-art work 
as it is related to the present elementary school cur- 
riculum. In the near future the writer believes it 
will be necessary to so readjust the studies of the 
elementary and high schools that there may be a 
better relationship and continuity of study for those 
who will go on to high school for a short period 
only and a decided change of course of study for 
the large percentage of children who leave school 
at the end of the sixth or eighth grade. For those 
who must leave at so young an age, a course of 
study should be planned which will consider the 
needs of those children who must join the large 
army of wage-earners at the earHest possible moment. 
They must be prepared for citizenship and social 
living. The best which can possibly be given them 



174 DOMESTIC ART 

in this short period should be theirs. The most 
important phases of hygiene and knowledge of the 
laws governing health can be given, they can receive 
some kind of training in skill along some line of 
useful vocation. In domestic-art work for girls this 
would mean training in the trades centring about the 
needle, and the spending of as much time as possi- 
ble on the art, music, English, and mathematics 
which bear a relationship to the special line of 
interest. Women of originality of thought and pur- 
pose who have studied the field of industry open to 
young wage-earners, as well as the field of general 
education, should be chosen to plan and conduct 
this work. It will be largely experimental for a while, 
but must be so conducted until the results have 
been studied. The work undertaken in Boston at 
the North Bennett Street Industrial School is of this 
experimental nature and the results are being watched 
with much interest. Opportunity is there given in 
the seventh and eighth grades for intensive industrial 
work during half of each day. Outline IV is sug- 
gestive of possibilities if the reconstruction of the 
curriculum of the first six grades gives opportunity 
for vocational work to follow in the seventh, eighth, 
and ninth grades. 



PART III 

THE RELATION OF DOMESTIC ART TO 
SECONDARY EDUCATION 

CHAPTER X 

CAN DOMESTIC ART CONTRIBUTE TO THE GEN- 
ERAL AIMS OF SECONDARY EDUCATION? 

Before it is possible to decide whether domestic 
art can contribute to secondary education, one must 
have an understanding of the general meaning and 
aims of secondary school work. As the term is gener- 
ally accepted it means the four years course of train- 
ing which connects the elementary school with higher 
schools. This may be in secondary schools of vari- 
'^us types both public and private. In the broader 
sense, secondary education may mean all kinds of 
courses of one, two, three, or more years, which 
follow the work of the elementary school, evening 
or day continuation classes in public schools or asso- 
ciations which contribute to the advance of one's 
education beyond the accompHshments of the eighth 

175 



176 DOMESTIC ART 

grade. This work may be literary, scientific, or 
artistic, and of a practical or technical character. 

"The education demanded by a democratic society 
is, therefore, an education that prepares an indi- 
vidual to overcome the inevitable diffi- 

General aim 

of secondary CUlticS that Stand in the way of his mate- 
education. 

rial and spiritual advancement." While 
this defines education generally, it seems also to be 
particularly apt in application to this field of work, 
for it is during this period of education that youth 
is so often brought face to face with the difficulties 
of life, especially in relation to livelihood. Mr. 
Hanus has outlined the general aims of secondary 
education very fully. Life in order to be worth while 
must show growth and an ever-increasing usefulness 
in the world, so that the secondary education of to- 
day must be a preparation for life which is to be one 
of helpfulness and service, both to the individual and 
to society. 

As the life interests of individuals are so various, 
^ , ^ secondary education should offer pos- 

Pupils to be -^ ^ 

•• led to the sibilities of choice so that during that 

discovery of . 

dominant period the pupil may discover the path 

of life which his interests direct him to 

follow. This thought of discovery of life purpose, 



GENERAL AIMS OF SECONDARY EDUCATION 177 

which should be the key one, makes the planning of 
work very difficult. This interest may lead the pupil 
to self-support or to a life of study or invention which 
may count for service to himself and others. Sec- 
ondary education should so stimulate the pupil that 
he will realize his duty and responsibility toward 
society at large, and see that ultimately he must figure 
in the making of the laws of his country and in the 
fulfilment of duties of public trust in all fields of 
work. Early encouragement to take part in the social 
work of the community may be a guide to leadership 
and an incentive to intelligent and helpful participa- 
tion later in life. 

The above definition of education calls attention 
to the spiritual advancement of the individual. 
Secondary school work should introduce the indi- 
vidual to an appreciation of the beauties of the 
"refined pleasures of life," those things in art, letters, 
science, and religion which contribute to higher and 
more spiritual living. Education which omits this 
entirely deprives the individual of those inner re- 
sources which count for so much when the practical 
issues of life sometimes do not bear fruit. They are 
the inward life and strength which often impel the 
individual to greater things. Secondary work should 



178 DOMESTIC ART 

SO interest the pupil in this field of thought that he 
will continue to be interested and to develop along 
these lines as he proceeds in life. 

Secondary education should not neglect the phys- 
ical advancement. Opportunity should be given 
Physical the pupil for physical development and 

advancement ... . . ^ r .i i . t^ 

of great mtimatc study of the laws governmg life 

importance. ^^^ -^^ ^^^^^ ^j^.^ ]^nOwledge is the 

most vital and important if the individual is to ac- 
complish anything in the world. This period of ado- 
lescence adds another difficulty which must be consid- 
ered by those planning the secondary school courses. 

These aims which contribute to the development 
of the individual count also for the development of 
society and for the betterment of living. The func- 
tion of secondary education has been given as "the 
most widely available organized force for elevating, 
refining, and unifying a democratic society." 

All phases of work of secondary nature should 
contribute to these general aims. If these aims are 
analyzed more specifically, they are 

(i) Those which relate the individual to society 
and help him to take his place among his fellows. 

(2) Those which give him the broader view of 
life, of its accumulation of culture, or aesthetics. 



GENERAL AIMS OF SECONDARY EDUCATION 179 

(3) Those which are practical and enable him to 
select a vocation which will be his life interest or 
means of livelihood. 

In considering the field of domestic 

Domestic art 

in relation to art in relation to these aims, it is possi- 

these aims. n -t ^• <• -i 1 t«i 

ble to find many Imes of thought which 
will contribute to their accomplishment. 

A knowledge of domestic-art work will enable any 
woman to be a better consumer, producer, and home- 
maker in any community. It will enable her to buy 
economically and wisely, to select with wisdom and 
good taste the best and most appropriate clothing 
and furnishings for her home, to manage it sys- 
tematically for the good of all its members, and to 
enter into the problems of social life intelligently. 
Can all this be accomplished by means of domestic- 
art work in secondary education? There are many 
possibilities. The teacher's example will be one of 
the most dominant factors. Her interest in life, in 
society will be an impelling force. Talks and sug- 
gestions in relation to woman's work, wages, sweat- 
shop labor bargains. Consumers' League, open the 
mind of the awakening girlish consciousness to a new 
field of thought. Woman's relations to the better- 
ment of conditions of the working-woman, of better 



l8o DOMESTIC ART 

laws, of economic relations, suggest to her fields 
of work for the future. The teacher's direct inter- 
est in and support of these in her own 

Domestic art 

in relation to towu are factors which count for influ- 

social life. 

encing the girl to participate in such 
life-work. Talks from officials and others interested 
in betterment, and in economic conditions, are an- 
other avenue of possible connection. Visits to insti- 
tutions, factories, or shops are often possible for 
study — the clothing, food, etc., of children and adults 
in institutions, suggestions for betterment — the pur- 
chasing power of a dollar — the best for the least 
amount, all suggest ways of arousing interest which 
may later lead to an active interest in the work of 
social welfare. This may be as life-work or voca- 
tion either for a means of livelihood or not. As a 
means of livelihood the field offers many opportu- 
nities for institutional buyers, philanthropic and wel- 
fare workers in school systems, charities and better- 
ment work of the large factories connected with the 
t.extile industries, or in various other fields of work. 
Secondary education should in this social connec- 
tion aim to give the girls true knowledge of the 
organization of the institutions and activities of gov- 
ernment. Courses in history, civics, economics, and 



GENERAL AIMS OF SECONDARY EDUCATION l8l 

social studies all contribute. This is not the function 
of domestic-art work, but the teacher of this subject 
can relate her work intelligently to it and lend a 
hearty co-operation in the general training for good 
citizenship. 

Vocational education has been defined as "that 
which equips an individual for self-support. Self- 
support may not necessarily mean a 

Domestic art ^ ^ ^ '' ^ "^ ^ 

in relation to wage-camiug Capacity, it might be 

vocational aim. . i t r 

nome-makmg or work along the line of 
one's dominant interest." Not all of our girls are 
privileged to proceed to college and enter upon 
courses of work which may lead later to their life 
vocations in large fields of professional interest and 
study. The secondary school should provide some 
means of enabling the girl to find herself in relation 
to her life-work as a vocation along other lines than 
those of the higher professions. Courses in house- 
hold arts, commercial and other business courses, 
are needed in order that if the girl have ability in these 
directions, she may discover it and her relationship 
to them, that she may emerge into larger life and 
under wise direction learn the source of her pleasures 
or the life-work in which she will voluntarily engage. 
Secondary education should acquaint the girl with 



l82 DOMESTIC ART 

the importance of the discovery of a vocation so that 
she may begin her Hfe-work early. "The great 
mass of human happiness will always arise out of 
doing well the common things of life, and the happi- 
ness of the individual will lie in that creative genius 
which does to-day the same thing it did yesterday, 
but does it better." 

Secondary education for girls must offer courses 
which deal with the common things of life, as well 
as the literary and aesthetic work. The two should 
go hand in hand and one supplement the other. 
Vocations may be the direct outgrowth of the house- 
hold arts courses or may spring from the so-called 
more cultural courses of the school. The aim of 
either is for greater service and efficiency. 

Courses in domestic art may lead directly into many 
vocational fields. That of the home-maker is the 
first and foremost in our consideration, for it is she 
upon whom we depend for the growth and develop- 
ment of the homes of the future and the rearing and 
education of our children. There can be no greater 
vocation, and any secondary school entirely fails in 
its mission which neglects to give the girls an oppor- 
tunity for studying it. Courses in dressmaking, 
costume designing, or millinery may lead directly to 



GENERAL AIMS OF SECONDARY EDUCATION 183 

life-work along these lines. The secondary schools, 
according to their type, may only introduce or offer 
more intensive study in these fields of work. These 
intensive courses will prepare for direct application 
in establishments of trade. They may not give a 
full trade experience, but they do give the girl a 
foundation for later training which will cause her to 
rise rapidly as she gains in experience. 

Courses in domestic art can contribute to the so- 
called general culture work and thought of the 
Dommticart school. The modcm idea of culture is 
the to*cSed ^^ch broader than that formerly in use, 
cultural studies, an^j the ncw social relationships and 
civilization call for a change in adjustment of our 
so-called cultural courses. The practical studies ap- 
peal most thoroughly to many girls and it may be 
that through these only can the introduction be 
given to the more general cultural studies. For the 
girls who do not intend to go to college, Latin and 
Greek are a waste of time. It is far better for 
these to study the more modern subjects which are 
adapted to their needs: the history of industry and 
commerce, politics and education, art and phi- 
lanthropy, modern foreign languages, literature of the 
mother-tongue, the elements of commercial training, 



l84 DOMESTIC ART 

fine arts and mechanic arts, economics and govern- 
ment. This scope of programme offers difficulties 
to those who must prepare the course of study for 
the individual. General culture has been defined 
as ^'the capacity to understand, appreciate, and 
react on the resources and problems of modern 
civilization." No one individual can choose all the 
work offered, but should be taught to think about his 
choices and do so under guidance. This direction of 
choice will depend largely upon the tact and good 
judgment of the teachers. Secondary education 
should be a constant training in foresight and re- 
sponsibility, these two great giants which make for 
the formation of character and good citizenship. 

Domestic art in this sense may be cultural in many 
ways. The various courses in art, design, costume 
and millinery designing, all have as their foundation 
the general principles of design. Garment -making, 
trimming, and decoration are truly studies in line 
and space, balance, rhythm, and harmony of color. 
A beautiful gown or hat is a true study in art and 
requires artistic sense and feeling to produce it. The 
study of fabrics, their manufacture, composition, 
and adulteration opens up the whole field of science. 
The dyeing, cleansing, and laundering of materials 



GENERAL AIMS OF SECONDARY EDUCATION 185 

offer a practical application of chemistry and its 
principles. The hygiene of clothing relates directly 
to the studies in physiology, and some of the princi- 
ples of physics and geometry are exemplified in the 
drafting of garments and the use of machines. 

History has a decided connection with the domes- 
tic-art field. The history of industry is most interest- 
ing and vital in relation to the evolution of textile 
manufacture. The history of rugs, old textiles, and 
costume are as interesting as studies of ancient Greek 
or Roman life and may be connected with these. 
Economics and sociology bear directly on many 
phases of domestic-art work, and commercial geog- 
raphy makes the study of fabrics of much more 
\ value and interest to the pupil. 

The possible so-called cultural relationships are 
very many, but it depends entirely on the skill and 
tact of the domestic-art teacher in her co-operation 
with the other instructors to make these relation- 
ships vital. 

With these general aims for secondary education 
in mind, and the possible scope of domestic-art 
work as it contributes to the accomplishment of these 
aims, it is possible to turn to the selection of material 
for various types of secondary schools, according to 
their needs. 



1 86 DOMESTIC ART 

References for Study 

"A Modern School," Hanus.' 

"Secondary Education in a Democratic Community," 
Hanus. Vol. XI "English Reports on Education." 

"Report of Lake Placid Conference on Home Economics," 
1908. 

"The American High School," J. F. Brown. 



CHAPTER XI 

THE SELECTION AND PLANNING OF WORK 
FOR THE SECONDARY SCHOOLS 

With the previous chapter in mind, we are ready 
to turn to the selection and planning of work for 
secondary schools. 

We are at once confronted by the numerous factors 
which must be considered in the planning of work. 
They are somewhat similar to those affecting the ele- 
mentary course and yet more difficult. Our primary 
consideration is the girl — our girl with all her aspira- 
tions, hopes, and fears. She is very appealing at 
this period, for she is so very human in the develop- 
ing and unfolding of her nature. We are to guard 
and guide her, and to watch her physical and psy- 
chological development. The teacher of domestic 
art has an unusual opportunity to help and protect 
in her close association. She must be guarded 
against too great physical and mental strain when 

she is in need of rest and relaxation. Her ambitions 

187 



1 88 DOMESTIC ART 

are to be encouraged, her fears allayed, her hopes 
renewed. The teacher should be wise in her selec- 
tion of problems during the early high school years 
and should bear distinctly in mind the peculiar 
character of this period of mental and physical de- 
velopment. The good of the girl is the ultimate goal, 
and without health nothing can be accomplished. 

The social ideals and life of the community should 

be kept in mind in planning the work for this course, 

for after all we are preparinpr the sfirl 

Social life of ^ ^ ^ ^ ^ ^ 

the commu- to take her place in the community and 

nity a factor. . 

to promote its welfare. The needs of 
the home, of the school, and neighborhood institu- 
tions should be considered. Problems may be intro- 
duced into the course which may be of use and value 
in those institutions and develop an interest in them. 
Any connection which the domestic-art teacher can 
make to arouse the social consciousness of the girl 
and put her in touch with useful life will be of great 
value to her. This added interest which is the only 
true interest certainly touches life and enables the 
girl to see her relationship to some of its problems. 
Time and locality enter as factors in relation to 
the planning of this work. The local school board 
may be authorized to decide the number of hours 



WORK FOR SECONDARY SCHOOLS 189 

per week which are to be devoted to the domestic- 
art work. This may handicap the teacher, for either 
Time and too much or too little time may be al- 

''''^^'*^' lowed and the proper balance be lost 

between the academic and household arts studies. 
The time should naturally be regulated by the aim 
of the particular school and local conditions, but 
very often those who are entrusted with the regula- 
tion of time are not alive to the differences to be 
kept in mind and do not understand the proper 
relationships or aims of the various types of schools. 
The course of study is always more or less influ- 
enced by the particular locality or environment— by 
environment is meant all the peculiar local condi- 
tions which affect planning. A private school, for 
example, located in a suburb where there is oppor- 
tunity for more or less outdoor life, may introduce 
into its course problems of a different character from 
those which may be of particular value in the city 
school under other conditions. 

The cost of the introduction of the work may be a 

Cost often Problem for consideration, but in the 

^fans' """^'^ majority of secondary schools the pupils 

supply most of their own materials. The 

board of education or school often supplies the tem- 



190 DOMESTIC ART 

porary equipment of needles, thread, etc., and nearly 
always the permanent equipment of machines, tables, 
and other articles of furniture. Parents are usu- 
ally quite willing to supply the necessary materials, 
for the garments produced have as a rule a utilitarian 
value and are to the mother an economic saving of 
time, labor, and money. In the case of the introduc- 
tion of more technical or trade work, it is not possible 
for the home to furnish the necessary supplies. The 
work in order to be of most value must be of a 
certain variety, and the materials used must be such 
as will be worth while handling. The problem of 
funds to meet the needs is a serious one, but is met 
in many ways by the ingenuity of those in charge. 
Shops and order work seem to be the best solu- 
tion, but also have difficulties, for patrons wish well- 
finished results, and often in the process of learning 
many efforts must be made by some children before 
a creditable piece of work is produced. These in- 
ferior articles may be sold for little, perhaps just to 
cover costs of materials — and must often be sold at 
a sacrifice. This makes the trade school course of 
study a particular problem in itself in relation to cost, 
and a trade school will always be an additional cost 
to the management for materials on account of the 



WORK FOR SECONDARY SCHOOLS I91 

unavoidable waste during the process of learning. 
In many schools of classical and manual training type 
students make articles for sale which are given to 
the school, or take orders for household linen or 
other articles for neighboring institutions. This 
may or may not be an excellent plan according to 
management, but often enables a school to purchase 
the necessary permanent equipment of chairs, ta- 
bles, machines, etc., when the local authorities may 
not be able to do so. 

Another factor to be considered is the final goal 
of the secondary school. This will be more fully dis- 
Aim of each cussed in considering the types of school, 
to^be ke^^un^ Is the coursc to prepare for college en- 
^^^^' trance and will any credit be given for 

it ? is a question which the domestic-art teacher faces 
in the planning of her work. The selection of sub- 
ject-matter will be influenced as well by what has 
gone before as by that which is to follow. Have the 
pupils had any domestic-art training in the grades, 
what has been its scope, in what grades was it given, 
will a lengthy review be necessary? The course 
must be moulded accordingly to meet these con- 
siderations, which must be kept in mind if the 
course is to be well planned. Very often the do- 



192 DOMESTIC ART 

mestic-art teacher discovers that the grade work has 
been almost entirely forgotten because of its dis- 
continuance during the seventh and eighth years of 
study. 

^'When society enters distinctively into a new 
phase of its evolution, there must be a new distri- 
bution of educational values." The greatest diffi- 
culty which the teacher of domestic art must face 
is the differentiation of courses for various types of 
secondary schools, for unless she understands the 
aims and conditions which affect the various types 
she is not apt to be wise in her selection of subject- 
matter to meet those needs. As society has entered 
this new phase of its evolution, the industrial era, one 
finds such a variety of types of secondary schools that 
it is difficult to distinguish and to differentiate the 
work for the various kinds, because of the general 
feeling of uncertainty as to the real goal of each 
type. Unless the aims are understood the distri- 
bution of values will lack balance and proportion. 
The teacher of household arts must guard against 
the temptation to think that her subject is the only 
one in the curriculum for consideration. 

It may be well to analyze somewhat briefly the 
main aims of some of the types of secondary schools 



WORK FOR SECONDARY SCHOOLS 193 

and to follow these with suggestive outlines for 
courses of study under varying conditions. 

The classical high school or the classical course 
in high school seldom permits of very much work in 
Domestic art houschold arts. As a rule the girls are 

in a classical • p n 1 n 1 

high school preparing for college and all the avail- 
course. ^-^Yq time must be spent in working off 
the necessary requirements. If the college entrance 
board would accept certain work in household arts, 
it might be possible for a course to be arranged 
which would not only have a classical bearing, but 
be of great value to the girl in her development and 
life in society. When household arts work is given 
in the classical courses it is nearly always elective, 
and not required, as it should be. Fortunately, how- 
ever, girls feel instinctively the need of this work, and 
their natural interest leads them to pursue it when- 
ever it is possible for them to do so. The time at 
most is very short. 

The outline submitted for the classical type of 
course is for two hundred and forty hours of work, 
to be distributed as seems best in relation to the 
other work of the school. As a part of a household 
arts course the same amount of time should be 
given to the so-called domestic science phases of the 



194 DOMESTIC ART 

work. The work of the classical domestic-art course 
should be interesting and offer variety. The girls 
work as a rule on problems of personal interest and 
the main aim of the work is training the girl for 
usefulness in her home and in her relationships with 
others. 

COURSE IN DOMESTIC ART 

PART OF HOUSEHOLD ARTS COURSE FOR SECONDARY SCHOOL OF 

CLASSICAL TYPE 

I. Factors governing the selection of this subject-matter 
for .a possible condition. 

(i) Previous Training. — Hand-sewing given in sixth and 
seventh grades of elementary school. 

(2) Secondary Course to count toward college entrance. 

(3) Location of School. — Suburb of Philadelphia. 

(4) Girls. — From homes of best middle class. Some go to 
college, others to be prepared for home duties. 

(5) Time. — Two himdred and forty hours, to be distri- 
buted as seems best in working out programme of all studies, 
possibly three hours per week for two years. 

(6) Cost. — Pupils supply nearly all materials. 

II. Course of study. — Clothing, 
(i) Problems. 

{a) Underwear (three pieces). 

(h) Shirtwaist gown or simple lingerie gown (one piece or 
waist and skirt). 



WORK FOR SECONDARY SCHOOLS I95 

(c) Making of lined gown. — (i) Skirt — drop skirt. — (2) 
Waist. 

(d) Millinery. — (i) Fall or winter hat. (2) Summer hat — 
straw or lingerie. 

(e) Embroidery. — (i) Table cover or pillow top. (2) 
Lingerie hat or underwear (above mentioned), or Christmas 
gift. 

(2) Processes involved in working out above problems. 

(a) Hand-sewing (review). 

(b) Machine-sewing. 

(c) Drafting with use of patterns. 

(d) Fitting and hanging of garment. 

(e) Designing for decoration and draft of patterns. 
(J) Computations of costs. 

(3) Thought Content to be developed while presenting above 
problems. 

(a) Textile study. Source of materials, properties, manu- 
facture, design, and workmanship of textiles. 

(b) Use and adaptation of commerical patterns and relation 
to drafting. 

(c) Hygiene in relation to wearing apparel. Sweatshop 
labor. 

(d) Study of relative values of hand and machine work. 

(e) Suitability of apparel in relation to use and income. 
Line and color to be adapted to wearer. Economics of the 
purchase of materials, prices, widths, quality, etc., in rela- 
tion to use and planning of the wardrobe. How to reduce 
cost with good effect. 

(f) Training for accuracy, neatness, foresight, and respon- 
sibility. Development of social consciousness. 

(4) Allied Subjects. 



196 DOMESTIC ART 

(a) Art in specific design, color, adaptation of line to space — 
relation to human form. History of costume as expression 
of social development; appropriateness of clothing and beauty. 

(b) Physics. 

(c) Commercial geography. 

(d) Industrial history. 

(e) Economics (simple form). 

(J) Physiology (hygiene of clothing). 
(g) Chemistry (dyeing of materials). 

(5) Related Interests. — To be developed while teaching above 
problems. 

(a) Visits to shops, factories, museums, and libraries. 

(b) Use of books and current magazines as of value in above 
study. 

(c) Work of organizations, as Municipal League, Consum- 
ers' League, Board of Health, Trades Unions (relation of 
employer and employees). 

(d) Sweatshop problems, duties, customs (imported gowns, 
etc.). 

HI. Shelter and household management, 
(i) Problems. 

(a) Making of charts showing relation of cost of clothing 
to income, also charts of color schemes for rooms and fur- 
nishings. 

(b) Making of furnishings. — (i) Scarf for table or pillow. 
(2) Curtains. (3) Weaving of cover. 

(c) Keeping of accounts — informal talks on house manage- 
ment in relation to furnishings and clothing. 

(d) Laundering of materials (cleansing, dyeing), 

(2) Processes involved in working out the above problems. 



WORK FOR SECONDARY SCHOOLS 197 

(a) Stencilling. 

(b) Block printing. 

(c) Hand-loom weaving. Co-operative work. 

(d) Exhibits in school of rooms furnished. 

(e) Trial of method of keeping personal accounts. 

(f) Cleansing and dyeing of old materials. 

(3) Thought Content to be developed while presenting above 
problems. 

{a) Artistic and beautiful furnishings of home; spirit of 
home-making.; ethical and social side; kind of home in rela- 
tion to income. 

(b) Management in relation to repairs of clothing, linen, 
rugs, etc. Care of clothing and house furnishings. Launder- 
ing of materials. 

(c) Keeping accounts. Clothing and furnishings, their rela- 
tion to income. 

(d) Economy of time in relation to making and use of home 
things. 

(e) Business management. Simple business rules, and law 
for women. 

(4) Allied Subjects. 

(a) Art — study of design materials, color in relation to rooms. 

(b) lu-ousehold sanitation — in relation to furnishings. 

(c) Chemistry — color; cleansing of wood and materials; 
dyeing, laundering. 

(d) Economics (very simple). Law of supply and demand; 
ifioney — fall of price. 

(5) Related Interests. 

(Same as above subject, (II) Course of Study. Clothing.) 



198 DOMESTIC ART 

The domestic-art work in a manual training high 
school course differs principally from the classical in 

the amount of time ffiven to the sub- 
Manual *-* 

training high ject. The work is generally required, at 

school course. 

least a certam number of points of it, 
and opportunity given for more elective work where 
the girl is interested in a specialty and is contem- 
plating more advanced training after leaving the 
school. The main aim of such work is proficiency 
which will enable the girl to run her household affairs 
intelligently and well, or make it possible for her to 
go into other schools or professional establishments 
for further study along such lines. Many of the 
domestic-art graduates of the manual departments of 
high schools enter dressmaking or millinery estab- 
lishments in order to become more proficient along 
these lines, or continue into higher schools and later 
teach this specialty. The aim of the manual train- 
ing course, as the work has been planned in most 
manual training schools, is to keep in mind the 
development of the girl without especial emphasis 
on the vocational aspect of the work. The aim of 
the work is not to train for a trade, although very 
often some of the students do specialize in such a 
direction because of the interest awakened. The 



WORK FOR SECONDARY SCHOOLS 199 

work generally offers variety, and the course for girls 
permits of many phases of industrial arts, such as 
metal work and clay modelling, as well as the 
household arts work of cooking and sewing. The 
possibilities for such courses have already been 
enumerated and will be regulated by the local con- 
ditions determining the formation of plans. 

STUDENT PLAN, TEACHERS COLLEGE 

Domestic-Art Course for Manual Training High 

School 

conditions 

Si^e of City. — From 90,000-100,000 inhabitants. 

Nationalities. — American, English, German, and Scandina- 
vian. 

Elementary Schools. — Some hand-work is given in the ele- 
mentary schools in this city, but children coming from outside 
settlements and smaller cities may not have had any hand- 
work at all. 

Higher Institutions of Learning. — A State university, a 
high school, and several church high schools and colleges. 

Further Description of Environment. — The largest enterprises 
of the State are agriculture, mining, and sheep industry, and 
this city being the centre of attraction, a good deal of business 
is carried on there. The city has several large department 
stores, but no factories of great importance. Most of the 
people have their own homes, and as a rule Hve under favor- 
able circumstances. 



200 DOMESTIC ART 

AIM OF THE SCHOOL 

The aim of this manual training high school course in 
domestic art is to offer to girls a practical education, in order 
that they may discover and exercise their best powers, while 
obtaining accurate information in many practical problems of 
life. 

The special aim of this course in domestic art is to prepare 
the girls to be more efficient home-makers, and to be better 
prepared to take their place in society; to cultivate an 
appreciation of home, and to dignify housework by improving 
the method of work as well as the articles made. 

Throughout the course emphasis is to be placed upon 
economy, suitability, and as far as possible, upon the culti- 
vation of order, neatness, responsibility, and unselfishness 
whenever there is a natural relationship. 

The subject-matter is to be correlated with art, history, 
geography, nature study, arithmetic, etc. 

Twenty periods a week are to be devoted to academic studies 
such as English, mathematics, science, history, language, 
music, and elocution. By a wise selection of studies it would 
be possible for those who intend to go on to college, to meet 
the requirements. 

Ten periods a week are given to domestic art, domestic 
science, and drawing. Physical training will have to be given 
outside of the ten periods, unless the hours can be arranged 
differently. 

The work is planned for one-hour-and-forty-minute periods, 
which may seem long for the first year; but as a rule the first 
year high school girls are not imder fifteen years old and 
would be able to stand it. 

A good deal of garment and dress making have been ar- 
ranged for in this course^ for the reason that the parents are 



WORK FOR SECONDARY SCHOOLS 201 

inclined to appreciate the utilitarian value of this subject more 
than the educational; hence an attempt is made to meet the 
approval of the parents as well as to fulfil the aim of the school. 
Many mothers depend on and greatly appreciate the help the 
daughters can give them during vacation periods, especially the 
help with the family sewing. This is one of the reasons for 
introducing children's clothing. 
The school year is thirty-four weeks. 



202 



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2o8 DOMESTIC ART 



STUDENT PLAN, TEACHERS COLLEGE 

Domestic- Art Course of Study for a Manual Training 

High School 

This course of study in domestic art is plann d for a manual 
training high school in a Western town of a population of about 
sixty thousand. A large part of this population is made up of 
Germans who are comfortably well-to-do and home-loving 
people. The school, which is splendidly equipped in every 
way, is located in the central part of the city directly across 
the street from the classical high school and furnishes to the 
students of this classical high school whatever manual work 
they may elect to take as well as regular courses in the manual 
arts which are arranged for its own students. 

Most of the girls who attend the manual training high 
school come from thrifty families with comfortable homes. 
About three-fourths of these girls remain at home after gradu- 
ation and many of them eventually marry and have homes of 
their own. Of the remaining quarter, some go on to higher 
education, usually technical, some wishing to become teachers 
take normal courses, and others enter the trade or business 
world. Domestic art is taught in the seventh and eighth 
grades of the elementary school so that the girls on entering 
high school have some knowledge of the different stitches and 
their applications. 

There are two teachers of domestic art in this high school. 
The average number of girls in a class varies from ten to 
fifteen, rarely exceeding fifteen. 



WORK FOR SECONDARY SCHOOLS 209 

AIM OF COURSE IN DOMESTIC ART 

To help the girls to grow into well-rounded women who 
will be equipped to meet home and social problems in an 
intelligent and practical manner. 

To develop in the girls a higher appreciation and enjoyment 
of beauty and harmony and to offer practical work which shall 
aid them in attaining this harmony and beauty in their own 
lives. 



2IO 



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DOMESTIC ART 



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kept in the room con- 
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WORK FOR SECONDARY SCHOOLS 



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WORK FOR SECONDARY SCHOOLS 



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222 DOMESTIC ART 

Domestic-art 'work in the technical high school 

courses should differ from the manual training in 

that it should offer not so great a variety 

Technical 

high school of hand-work for each student, but 
allow opportunity for intensive v^ork 
along some particular line of interest, such as dress- 
making, millinery, costume designing, etc., at the 
same time allowing opportunity for some academic 
work to be pursued. The plans for real technical 
work in high schools seem to differ with leading 
authorities. The Washington Irving High School 
in New York offers some of the best technical high 
school work for girls given in this country. As yet 
the technical lines of specialization are not many in 
number, but those offered lead the students into 
many fields of work. Commercial courses and libra- 
ry assistance, specialization in various fields of art 
such as designing and sketching for wall papers, 
textiles, stained glass, and cataloguing, dressmaking 
and millinery, present a number of opportunities for 
selection. 

There are many fields for specialization in the 
household arts work which have not as yet been 
appreciated by controlling boards and which in the 
future will give wonaen an opportunity for means of 



WORK FOR SECONDARY SCHOOLS 223 

livelihood. The technical courses offered in high 
school may lead later to higher technical schools for 
women. At present few are established. The House- 
hold Arts School of Columbia University/Pratt In- 
stitute in Brooklyn, and Simmons College in Boston 
offer such opportunity for further study. 

The technical high school course of study is gen- 
erally three or four years in length, and about two- 
thirds of the periods are devoted to the special tech- 
nical line of interest. The academic studies will be 
of most value in such a school when they are dis- 
tinctly related to and correlated with the lines of 
thought of these special fields. The work of the 
first year will naturally be the least specialized, for as 
a rule the student must get her bearing and discover 
her peculiar interest. Opportunity should be given, 
however, in elective periods for those who have early 
discovered their dominant line of interest. So-called 
technical high school courses are often offered at 
night, but sometimes fail to make the work as in- 
tensive as that given in day courses, and offer no 
academic studies in connection. Such courses would 
better ^be called continuation courses, or home- 
maker's courses, rather than technical high school 
work. 



224 DOMESTIC ART 

The following outline of one specialty — dress- 
making — for the technical high school will give 
some idea of the kind and degree of intensity of 
work which should be offered in a technical course. 
Similar courses along the lines of costume-designing, 
commercial branches, designing for other special 
fields, millinery, etc., should be offered. The aca- 
demic work should be closely related and correlated 
with the special line of interest. The following 
course is planned for three years. It might extend 
over four, or additional work be added, if the high 
school course is of four years' duration. 

COURSE OF STUDY IN DRESSMAKING FOR A 
TECHNICAL HIGH SCHOOL 

Student Plan, Teachers College 

I. Conditions. 

(i) Population. — 200,000. 

(2) Nationalities. — {a) American, very largely. 

(h) Foreign, Outside the original American stock the Ger- 
man and Irish elements predominate. Of the 35,000 wage- 
earners employed in manufacturing, over 30,000 are of Ameri- 
can birth. 

(3) Industries. — {a) Importance. Occupies sixth place in 
manufacturing in proportion to population in the United 
States. The geographical centre of the workshop of the 
United States. 

Q)) Articles manufactured and produced. Shoes, clothing. 



WORK FOR SECONDARY SCHOOLS 225 

photographic supplies, canned goods, buttons, optical goods, 
flour, fruit products, seeds, chairs, nursery stock, office and 
telephone supplies, carriages, lithographing, machinery, etc. 

(4) Labor. — ^A high percentage of the labor is skilled and 
commands a higher price than in most cities and demands a 
higher order of intelligence because of the skill required and 
the diversity of articles manufactured. Owing to this pre- 
ponderance of skilled workmen the standard of intelligence 
throughout the city is high, and there is a small percentage 
of illiteracy and of foreign-born residents as compared to 
other cities. 

(5) Civic. — {a) Spirit. The citizens possess to a high degree 
a spirit of local pride and civic loyalty, which is manifest in 
city improvements, parks, public buildings, etc., and also in 
the schools. 

(p) Residential section. It is so situated that it has become 
one of the handsomest residence cities of America. There is 
no special district devoted to manufacturing enterprises. The 
factories are as scattered as their products are diversified. 
Naturally, this scattering of families has tended to scatter the 
workingmen of the city and prevented congestion of the houses 
in any single section of the city. There are no slums as com- 
pared to other cities and few large crowded tenement houses. 

{c) Environment. It has many parks, and its suburban 
sites and natural environment tend to make the life of the 
workingman pleasant and healthful and have tended to ele- 
vate the character of the workingman as a class. 

(6) Educational. — {a) Public institutions. There are thirty- 
eight public schools and two high schools; also a number of 
evening schools in the various parts of the city where they are 
most needed. Factory schools have recently been started, but 
so far instruction is only for boys. 

(h) Private institutions. Eighteen parochial schools, a uni- 



226 DOMESTIC ART 

versity, and theological seminary, (a) A Mechanics ' Institute 
which trains boys and girls, and men and women, for useful 
trades. 

(c) Scope. These institutions give ample opportunity for 
securing a common school and classical education. 

(7) Industrial Training. — The existing high schools give an 
indispensable preparation for high professional study and still 
more immediate preparation for business pursuits, but they 
do next to nothing to fit their pupils for the fundamental in- 
dustries. About thirty per cent of the number in the grades 
go to the high school. There is, therefore, need of practical 
instruction in the high schools so that, when the pupils leave 
the school, they vdll not have to resort to other means to get 
what they must know in order to go out into the business world 
successfully. There is need of high school technical training 
in this city. 

II. Aims. 

(i) General. — (a) To give a practical training in the high 
school, which will produce practical results for girls, who in 
the majority of cases are soon to be put to the necessity of 
applying their learning to the practical affairs of life. 

(&) To train the girls in the fundamentals and provide 
special trade instruction commensurate with the demands of a 
manufacturing city. 

(c) To encourage girls to become self-supporting and to 
lead useful, happy, dignified, and progressive lives. 

(2) Specific. — (a) Formation of right habits, (i) To en- 
courage habits of honesty, neatness, attention, accuracy, love 
of work, speed, promptness, economy of time and material. 
(2) To develop reasoning, originality, invention, imagination, 
and ability to express an idea in concrete form. (3) To incul- 
cate poUteness, kindliness, and pleasing manners. 



WORK FOR SECONDARY SCHOOLS 227 

(b) Home management, (i) To encourage neatness and 
orderliness in the home and promote a love for it. (2) To 
teach economy in buying and the use of materials and a judi- 
cious use of time. (3) To cultivate judgment and skill in the 
use of tools and selection of materials. (4) To develop good 
taste and promote a desire for beautiful, harmonious, simple, 
and restful surroundings. (5) To lead to consideration of 
physical conditions. 

{c) A preparation for trade, (i) Care and use of utensils, 
and skill in handling same. (2) Economy of time and mate- 
rial. (3) Ability to make and interpret working drawings and 
patterns. (4) Some knowledge of trade and every-day busi- 
ness transactions. (5) Some practical information of the 
names, use, fitness, etc., of the tools to be used in their trades, 
and the materials handled. 



DRESSMAKERS' COURSE— FIRST YEAR 

* (Required Course) 

Time. — Five periods per week for one half year. Periods, 
fifty minutes each. 

Note. — This course is preceded by an elementary school course of 
four years, in which the leading fundamental principles and stitches used 
in hand-sewing are given. There has been some garment-making by 
hand, a little free pattern-cutting, and the use of patterns, but no drafting. 
So far in the course machine-work has not been introduced. 

I. Problems. 

(i) Machine, (a) Work-bag. 

(b) Apron. 

(c) Underskirt. White muslin. 

(d) Night-gown. 

(e) Shirtwaist. Plain. 



228 DOMESTIC ART 

(f) Between work, (i) Short skirt. (2) Corset-cover. 

(g) Shirtwaist. Tucked. This problem is designed for the 
girl who finishes the first five problems before the time of the 
term expires. 

II. Principles and Processes Involved. 

(i) Care and use of machines, (a) Kinds, (i) Single- 
thread. (2) Double-thread. 

(b) Threading, treadling, oiling, parts, etc. 

(2) Drafting. 

(3) Cutting. 

(4) Fitting. 

(5) Stitching. 

(6) Designing. 

(7) Decoration, (a) Tucking. 

(b) Ruffling, (i) Calculating fulness. (2) Joining, etc. 

(c) Hemstitching. 

(d) Lace and embroidery, (i) Mitering. (2) Curving. 
(3) Joining. 

(8) Seams, (a) French. 
{b) Flat fell. 

(c) Tailor. 

(9) Hems. 

(10) Facings, (a) Straight. 
(b) Bias. 

(11) Fastenings, (a) Buttons and button-holes. 

(b) Tapes. 

(c) Ribbons. 

(12) Sleeve-making, (a) Finishing, (i) Tailor cuff. (2) 
Placket. (3) Putting in, gathering, etc. 

(13) Practice in using commercial patterns. 

(14) Adaptation of patterns to figure. 

(15) Study of form and line as appHed to individual figures. 



WORK FOR SECONDARY SCHOOLS 229 

III. Related Subject-matter. 

(i) Design, (a) Trimming of garments with lace and hand- 
embroidery. 

(b) Space relation, (i) Study of line. (2) Breaking up 
spaces to give long effects, short effects, etc. 

(c) Proportion. 

IV. Thought Content. 

(i) Use of machines, (a) Economy of time. 
(6) Strength of sewing. 

(c) Value in trade. 

(d) Beauty in fine stitching. 

(e) Comparison of machine- and hand-sewing. 

(2) Materials, (a) Suitability, (i) Fitness as to use. 
(2) Wearing qualities. (3) Laundering qualities. 

(b) Cost. 

(c) Good taste, (i) In selection. (2) In decoration. 

(d) Economy in use of materials. 

(e) Combination of materials. 

(3) Garment-making, (a) Choice of materials. 

(b) Undergarments to correspond to outer garments. 
{c) Estimate cosf of complete garment and time required to 
make each. 

V. Outside Interests, Talks, Excursions, Etc. 

Note. — One period of fifty minutes each to be set aside each week 
for talks, excursions, visits, etc. This time may be used for demon- 
stration of some thought to be brought out in connection with garment- 
making. Otherwise the time is to be spent in discussion of following 
topics. These may be subdivided and extended over more than one 
period at discretion of teacher. Each teacher to decide as to topics most 
needed by her individual class. 

(i) The keeping of accounts, (a) Advisability, use, etc. 
(&) Each girl to be required to keep an account of her ex- 
penditures for one month. 



230 DOMESTIC ART 

(c) Lead girl to see where in her individual case the money 
could have been more wisely spent. 

(d) Economy of time as opposed to money. 

(2) Problems dealing with the purchase of materials, (a) 
Relations of consumer and dealer. 

(b) Relative values, bargains, etc. 

(c) Comparison of samples brought in by girls; use of 
price lists; learn names and widths of materials. 

(d) Some means of judging materials. 

(e) Use of lists in shopping. 

(J) Shopping etiquette; how to ask for what you wish. 

(3) General appearance, (a) Good taste, (i) Color com- 
binations. (2) Textile combinations. (3) Suitability of gar- 
ment to occasion. 

(b) Good and bad hair dressing, (i) Hair ribbons, orna- 
ments, combs, etc. 

(c) Ornamentation, (i) Use of cheap jewelry. (2) Cheap 
laces, embroideries, etc. 

(d) Shoes, (i) Well cleaned. (2) Heels in good condi- 
tion. 

(e) Gloves, (i) Clean, well-mended. 

(4) Hygiene, (a) Care of the body. 

(b) Hands, (i) Nails — clean, well-shaped. (2) Necessity 
for business woman to have good-looking hands. (3) Care — 
soaps, brushing, etc. 

(c) Selection of garments that will launder easily. 

(d) Frequent changes of underwear, (i) Necessity in shop- 
work; use in this connection of knit, one-piece underwear. 

(5) Excursions, etc. (a) Visits to neighboring stores in 
relation to shopping, etc. 

(b) Exhibit of undergarments in connection with making of 
undergarments. 



WORK FOR SECONDARY SCHOOLS 231 



DRESSMAKERS' COURSE— SECOND YEAR 

{Required Course) 

Time. — Fifteen periods per week throughout year. Periods, 
fifty minutes each. 

I. Problems. 

(i) Construction, (a) Shirtwaist (cotton or linen, tucked). 

{b) Kimono. 

(c) Unlined cotton dress. 

{d) Shirtwaist (fancy tucked, lace-trimmed). 

{e) Silk petticoat. 

(/) Plain tailored skirt. 

fe) Gymnasium suit. 

{h) Tight-fitting lined waist. 

{i) Simple wool dress. 

(2) Drafting, (a) Shirtwaists. 
Q)) Close-fitting waists. 

(c) Sleeves. 
{d) Collars and cuffs. 

{e) Skirts, (i) Gored (seven, nine, eleven). (2) Circular 
(plain and gored). (3) Plaited. 

(3) Adaptation of bought patterns to fit individual needs. 

II. Principles and Processes Involved. 
(i) Drafting. 

(2) Cutting. 

(3) Tracing. 

(4) Marking. 

(5) Basting, {a) Running. 
{h) Tailor. 



232 DOMESTIC ART 

(6) Seams, (a) Kinds, (i) Welt. (2) Flat stitched. (3) 
Strapped. (4) Lapped. (5) Slot. 

(b) Finishing, (i) Overcast. (2) Bound. (3) Turned in. 

(7) Boning. 

(8) Pressing. 

(9) Pockets. 

(10) Making of button-holes. 

(11) Sewing on hooks and eyes. 

(12) Hanging skirts. 

(13) Finishing skirts. 

(14) Decorating, (a) Machine. (i) Hemstitching. (2) 
Tucking. (3) Stitching. (4) RufSing. 

(b) Hand, (i) French embroidery. (2) Coarse stitches. 

(c) Trimmings for gowns, (i) Smocking. (2) Cording. 
(3) Plaiting. (4) Braiding. (5) AppHcation of previously 
learned stitches to collars, belts, cuffs, shirtwaists, etc. 

(15) Study of line and form to fit individual figures. Adjust- 
ing garments to variety of figures. Much practice in taking 
measures. 

ni. Related Subject-matter. 
(i) Design, (a) Space relation. 

(b) Proportion. 

(c) Relative values. 

(d) Color harmonies. 

(e) Sketching, (i) Waists, gowns, and shirtwaists. 

(2) Commercial and industrial geography. 

(3) Commercial and industrial history. 

IV. Thought Content. 
(i) Materials, (a) Cost. 

(b) Economy in use and cutting. 

(c) Good taste in selection. 



WORK FOR SECONDARY SCHOOLS 233 

(d) Wearing qualities. 

(e) Suitability to garment. 

(2) Garments, (a) Appropriateness. 

(b) Economy in planning a wardrobe. 

(c) Combination of textiles. 
{d) Combination of colors. 

(e) Independence of draft and workmanship. 
(/) Utilities and varieties of shirtwaists. 

V. Textile Study. 

Note. — Twenty lessons during the year to be given on textiles. If 
possible, class to visit a silk or cotton or woollen mill in the vicinity of the 
school. 

Aim. — To give a practical understanding of the various 
textile fibres and the processes of their manufacture, that shall 
lead to judgment and taste in selection as suited in wearing 
quality, adaptability to use, permanence of color, and har- 
mony of design to the particular use for which they are intended. 

(i) Development and preparation of fibres, (a) Spinning, 
(i) Early history. (2) Processes. (3) Comparison of old 
and new methods. 

(&) Weaving, (i) Movements. (2) Early forms. (3) 
Looms. 

{c) Weaves and kinds of cloths in which used, (i) Twill. 
(2) Plain. (3) Rib. (4) Basket. (5) Satin. 

(2) Cotton, (a) Distribution and production, influence on 
cost, quality, etc. 

(b) Steps of manufacture through milling. 

(c) Products of milling. 

(d) Seed products. 

(e) Properties, (i) Wearing qualities. (2) Adaptations to 
use. (3) As substitute in other textiles. 

(/) Prices. 



234 DOMESTIC ART 

(3) Flax, (a) Production. 

(b) Processes. 

(c) Properties. 

(d) Adaptations to use. 

(e) Materials made from flax. 
(J) Wearing qualities. 

(g) Price as compared with cotton. ' 

(4) Silk, {a) Countries producing. 

(b) Milling operations. 

(c) Characteristics. 

(d) Wearing qualities. 

(e) Artificial silks. 

(J) Mercerized materials. 

(g) Price as compared with other textiles. 

(5) Wool, (a) About the same as for other textiles. 

(b) Cleansing properties, shrinkage, etc. 

(c) Utility for warmth. 

(d) Adulterations. 

(6) Dyeing, (a) Effect upon fibres. 

(b) Fast and fugitive colors. 

(c) Chemicals used, mordants, etc. 



DRESSMAKERS' COURSE— THIRD YEAR 

{Required Course) 

Time. — Fifteen periods per week throughout year. Periods, 
fifty minutes each. 

I. Problems. 

(i) Pattern modelling and draping, {a) Tight-fitting lining. 

(b) One-piece dress. 

{c) Sleeves, collars, guimpes, and yokes. 



WORK FOR SECONDARY SCHOOLS 235 

(2) Construction, (a) Hand-sewing, (i) Baby's under- 
skirt; some hand-embroidery. (2) Baby's dress. 

(b) Machine, (i) Silk or wool shirtwaist. (2) Princess tight- 
fitting boned lining (of silk or material suitable for lining wool 
gown). (3) One-piece wool dress (to be used over princess 
lining). (4) Guimpe of silk, lace, and net, decorated with fancy 
stitches. (5) Simple silk or wool dress to be used with guimpe. 
(6) Linen suit (gored skirt and coat). (7) Inexpensive cotton 
or wash dress. (8) Remodelling of an old gown. (9) Fresh- 
ening of old waists, gowns, suits. (10) Graduation gown. 
(11) Between work (hand-made lingerie waist using tucks, 
lace, and hand-embroidery). (12) Order work, (a) Lingerie 
(6) Baby's garments and pillows (c) Shirtwaists and cotton 
dresses. 

n. Principles and Processes Involved. 
(i) Largely review of principles and processes learned in 
first two years of course. 

(2) Skirts, (a) Lining, (i) Drop. (2) In one piece with 
waist lining. . 

(b) Finishing, (i) Braid or velveteen. 

(c) Fastenings, (i) Hooks and eyes. (2) Snaps. (3) 
Buttons and button-holes. 

(3) Coats, (a) Binding inside seams. 

(b) Pressing. 

(c) Pockets. 

(4) Shop methods, (a) Tests in workmanship, (i) Stand- 
ard set by factory and trade. 

(b) Tests in speed. 

(c) Piecework. 

(d) Order-work. 

(5) Practice in modelling gowns on figure. 

(6) Adjusting garments to individuals. 



236 DOMESTIC ART 

(7) Drafting waists to different measures. Taking measures 
of members of class until familiar with draft and its applica- 
tion to other garments. 

(8) Study of design, color, proportion, etc., as related to 
garment-making. 

III. Related Subject-matter. 
(i) Design, (a) Costume. 

(b) Decorative. 

(c) Color harmony. 

(2) Commercial and industrial history. 

(3) History of costume. 

(4) Commercial arithmetic. 

(5) Drawing and sketching. 

IV. Thought Content. 

(i) Materials, (a) Varieties; suitability for use in garments. 

(b) Texture and wearing qualities. 

(c) Color combinations. 

(d) Suitability of material to individual. 

(e) Cost, widths, etc. 

(f) Care of garments, (i) Cleansing and taking out spots. 
(2) Taking off shine and worn appearance. (3) Mending and 
pressing. 

(2) Preparation for trade, (a) Keeping of accounts. 

(b) Estimating cost of garments, (i) Ability to do so 
quickly. 

{c) Estimating amount of time required to make certain 
garments. 

(d) Keeping time accounts. 

(e) Business-like manners and ways of working. 
(J) Independence of workmanship. 



WORK FOR SECONDARY SCHOOLS 237 

DRESSMAKERS' COURSE— THIRD YEAR 

{Required Course) 
Household Management and Home Furnishing 

Time. — One period per week throughout year. Periods, 
fifty minutes each. 

jIIpi^ — Xo improve the home conditions as far as possible 
by discussions and practical demonstrations of the following 
topics. 

I. Problems. 

(i) Economic aspect of study of the home, (a) Labor, 
(i) Organized. (2) Systematic. (3) Regular times for doing 
certain tasks. (4) Economy of time and energy by careful 
planning. (5) Sharing of responsibiHties. (6) Division of 
labor. 

{b) Home industries, (i) Ethical value. (2) Economic 
value. 

(c) Income, (i) Division according to value and necessity. 
(2) Keeping of accounts. (3) Importance of wise spending. 
(4) Relation of spender to community, to family, to quality of 
commodity purchased, to condition of business. (5) Ele- 
ments which regulate apportionment of income. (6) Use of 
business methods in the home. (7) Some ideas of banking, 
checking, drafts, etc. 

(2) Furnishing of the home, (a) Fundamental principles of 
good furnishing, (i) Effect of furnishings upon health, com- 
fort, and development of family. (2) Artistic furnishings as 
well as hygienic. (3) Choice of materials as to color, suita- 
bility, design, wearing qualities. 



238 DOMESTIC ART 

(b) Care of rooms, (i) Weekly sweeping and dusting — best 
methods. (2) Lighting. (3) Heat and ventilation. (4) 
Sleeping-rooms. Bed furnishings and removal of soiled 
clothes, etc. (5) Use of disinfectants and deodorants. 

II. Processes. 

(i) Largely class discussions. 

(2) Free use of charts. 

(3) Let class plan ways of dividing income. 

(4) Practice in keeping accounts. 

(5) Some practice in making out checks, drafts, etc., with 
relation to banking, trade, etc. 

(6) Visit if possible a good model apartment. 

(7) Plan good division of daily household tasks. 



DRESSMAKERS' COURSE— SECOND OR THIRD 

YEAR 

(Elective Course) 

Time. — Five periods per week throughout year. Periods, 
fifty minutes each. 

Prerequisite. — Dressmakers' course first year. 

Aim. — To enable girls to earn money at home making under- 
garments for private trade. This course is for a girl who will 
be needed at home part or all of the day, and yet have sufficient 
time to enable her to help in the support of herself or family. 
In most large cities there is ample opportunity for the employ- 
ment of such girls, and need for their training. 

I. Problems. 

(i) Combination of hand- and machine-work, {a) Corset 
cover, (i) Plain. (2) Lace-trimmed. 



WORK FOR SECONDARY SCHOOLS 239 

(b) Chemise, (i) Hand-embroidered. 

(c) Underdrawers. (i) RulEfle trimmed with machine- tucks 
or hemstitching. (2) Ruffle of lace or embroidery. 

(d) Combination drawers and corset-cover, (i) Tight-fit- 
ting and very plain. 

(e) Night-gowns, (i) Plain. (2) Lace-trimmed or hand- 
embroidered. 

(J) Underskirts, (i) Plain (ruffle of same material trimmed 
with machine tucking). (2) Fancy (ruffle of embroidery with 
heading of beading, or lace- trimmed) . 

(g) Kimonos and dressing-jackets, (i) Daintily trimmed 
with lace, etc. (2) This problem is for those finishing the first 
six problems before the time of the term expires. 

n. Principles and Processes Involved. 

(i) Review of principles and processes as planned for first 
year course. 

(2) Extra stress laid on the finishing and decoration of 
garments. 

III. Related Subject-matter. 
(i) Same as for first-year course. 

IV. Thought Content. 
(i) Materials. 

(a) Cost. 

(b) Suitability as to use. 

(c) Laundering and wearing qualities. 

(d) Trimmings adapted to various qualities of materials. 

(e) Fitness of decoration (hand) to material and garment. 
(2) Garment-making. 

(a) Various shapes and kinds. 

(b) Suitability as to age and size. 

(c) Economical use of cloth. 



240 DOMESTIC ART 

(d) Estimation of cost. 
(3) Suggestive exercises. 

(a) Training in quickly estimating cost of a finished garment 
with relation to trade. 

(b) How to take orders for garments. 

(c) Keeping of time accounts. 

{d) Estimate cost of making garment as to time required. 

(e) Quick drill in designing and suggesting ways of making 
imdergarments. 

The trade schools for women in this country are 

few and have a distinct aim. They have been until 

recently under private management and 

Domestic art 

in trade largely experimental. The aim is to 

schools. . r 1 i 

tram the young wage-earner for a snort 
period in order that a certain amount of skill may be 
developed before she enters a trade, and that she 
may have an appreciation of the relationship of this 
trade to other work of the world. This cuts short 
the long apprenticeship period through which many 
of the girls must pass if they enter the shop or factory 
as soon as their working papers are obtained. The 
girls in such a school are naturally young, poor, and 
often in bad health. They cannot stay long in such 
a school and the course is often accomplished at 
great sacrifice. Such a school should aim to give 
the girl a knowledge of the fundamental laws of 



WORK FOR SECONDARY SCHOOLS 241 

health, all the technical skill and speed along the 
line of some specialty which time will permit, and as 
much of an outlook on the business and related 
interests of that specialty as possible. The Man- 
hattan Trade School for Girls in New York aims to 
accomplish this purpose. At present there are but 
four specialties offered — hand-sewing and dress- 
making, millinery, machine-operating, and pasting. 
The course of study in such a school is necessarily 
short, but leads directly to work. This school is 
open to girls who have left the elementary school 
because they are either graduated or have passed the 
compulsory school age. The physical training is a 
distinct part of the work of each day, as well as the 
academic features of study which give the girls an 
opportunity to learn to write a business letter, to 
reply to an advertisement, or to gain some knowledge 
of the origin and manufacture of the various textiles 
handled. The art work is also closely related and 
has a strong cultural value as well. 

The Hebrew Technical School for Girls of New 
York is a higher type of trade school and may be 
placed in a distinct class between such work as that 
offered in the Manhattan Trade School and that of 
the technical high schools. This course differs from 



242 DOMESTIC ART 

the above in that it takes mainly graduates from 
the elementary school, while the Manhattan Trade 
School admits girls who have obtained their working 
papers whether they have completed all or only part 
of the elementary school work. The consequence 
is that one finds a higher type of scholarship in the 
latter school. The course is only eighteen months 
in length, but is continuous. The girls are given 
much more instruction in academic work than in 
the Manhattan Trade School and there is also train- 
ing in housekeeping. About two-thirds of the time 
is devoted to technical work including design. 
Opportunity is given for election of the commercial 
course, or work in manual training, which means 
specialization in sewing and dressmaking. Oppor- 
tunity is also given for some trade experience, as or- 
ders for garments are executed by this department. 
The graduates from this school enter business as 
stenographers, and bookkeepers, or as dressmakers' 
assistants. Some remain at home and a few go on 
to higher schools. 

The Boston Trade School for Girls is similar in 
organization to the Manhattan Trade School and 
offers an opportunity for the study of this phase of 
domestic-art work. 



WORK FOR SECONDARY SCHOOLS 243 

The catalogues of these schools will illustrate the 
amount of time devoted to the special lines of interest 
as well as to academic work. 

The evening and day classes of the Young Women's 
Christian Association, and the industrial classes of 
church schools and settlements, as well as the 
public evening high schools, all offer a certain 
type of domestic-art work. Much of this may be 
classed as of secondary nature in that it offers 
opportunity for students to continue courses of study 
along these lines while engaged in business pursuits. 
These courses of study are most like the continua- 
tion classes of the foreign schools, but as a rule do 
not offer as good trade instruction as those abroad, 
where the courses offered at night aim to supplement 
the trade in which the workers are engaged. These 
schools and settlements also offer courses in domes- 
tic art which are not as highly specialized and may 
be better termed home-making courses, in that the 
aim is to offer such work as will make the girl more 
efhcient in her home. They are as a rule short in 
length and offer instruction in dressmaking, milli- 
nery, embroidery, and garment -making. 

One difficulty which should be guarded against 
by those in authority in these schools is the misin- 



244 DOMESTIC ART 

terpretation of aims of courses by those entering. 
The writer has known of young girls placed in the 
home-making courses who really desired more tech- 
nical instruction and who were disappointed because 
at the completion of the course it was impossible to 
find work as a milliner's or dressmaker's assistant. 
The aims of courses should be distinctly stated, 
and advanced as well as elementary work offered in 
both the home-maker's and trade sections of the 
domestic-art work. 

Catalogues of Christian Associations and settle- 
ments will illustrate the courses offered by these 
organizations. 

References for Study 

"Report of Lake Placid Conference on Home Economics," 
1908. 

'' Catalogues of Type Schools and Settlements." 

"Trade and Technical Education," Seventeenth Annual 
Report of United States Commissioner of Labor, 1902. 

"The Manhattan Trade School for Girls," Mary S. Wool- 
man. Educational Review, Vol. XXX, September, 1905. 

"Trade Schools. An Educational and Industrial Necessity," 
Mary S. Woolman. The Social Education Quarterly, Vol. I, 
March, 1907. 

"Report of Massachusetts Commission on Industrial and 
Technical Education," Boston, 1906. 



WORK FOR SECONDARY SCHOOLS 245 

"Industrial Education. With Reference to the High 
School," E. Davenport, University of Illinois. 

"Education for Efficiency." Vol. XI, English Reports on 
Education. Curriculum of Secondary Schools. Sandford. 

"Our Children, Our Schools, and Our Industries." Report 
1908, Andrew Draper, Commissioner of Education, Al- 
bany, N. Y. 

"Industrial Education and the Public Schools," George H. 
Martin, Secretary Massachusetts Board of Education, 1908. 

"The Making of a Girl's Trade School," Mary S. Wool- 
man, 1 9 10. 



PART IV 
DOMESTIC ART IN HIGHER EDUCATION 

CHAPTER XII 

DOMESTIC ART AS A PART OF COLLEGE 
TRAINING FOR WOMEN 

Household arts work as a part of college training 
for women is being introduced in many of the West- 
ern State and agricultural colleges. It is 

Introduction ^ ^ 

of household gradually winning its way against the 

arts in state 

andagricuit- old-timc couscrvatism which made a 

ural colleges. ,, - , i ^ , 

college course for women exactly parallel 
to that for men. The changes which have come about 
in college courses for men are bound to affect those 
for women and eventually relate the work more direct- 
ly to the life which the woman will enter after leaving 
college. The Eastern colleges for women are slow 
to adopt such a course, but before many years they 
will feel the necessity of offering what the students 

will demand and of readjusting their courses of study 

246 



DOMESTIC ART AS A PART OF COLLEGE TRAINING 247 

SO as to meet the needs of girls interested in the 
home and its beautifying, organization, and improve- 
ment. The majority of college women are far from 
practical, and few see the real relationship of the 
arts and sciences studied at college to the practical 
affairs of life. The writer believes that college 
women would marry earlier in life if their interests 
were enlisted in the study of the problems directly 
connected with home-making; there can be nothing 
more interesting for the average normal woman. If 
the well-trained, intelligent college women, the 
leaders of affairs in the world's work for women, 
would give their thoughts and energy to solving the 
problems of domestic science, proper food, proper 
clothing and shelter — in fact, "right living'' — with 
the least amount of expenditure of time, energy, and 
money, the study would not only be interesting to 
them, but benefit humanity more than years of study 
of Greek and Latin classics, for it stands for economy 
of health as well as economy of wealth. The college 
woman is beginning to feel this and to make her 
demands. It is only in very recent years that any 
provision has been made in colleges for the women 
who wished or were compelled to make teaching 
their life-work. The women were filled with sub- 



248 DOMESTIC ART 

ject-matter and graduated and expected to know 
intuitively how to present all the college subjects. 
Many college women go into the teaching field in 
this way utterly unprepared to present their subjects 
intelligently. The fact that many of the superior 
ones feel their lack of proper preparation is evi- 
denced by the statistics of normal training schools, 
Colleges slow v^hcre these women register for study 
to provide for -^^ education and methods of teaching. 

those who must *=* 

seek livelihood, ^he coUcge for women, of the past, has 
made no provision for training women who must 
seek some means of livelihood after graduation, 
other than to point the way to the teaching field. 
The world offers so many fields to college women of 
to-day that the least the college can do is to open 
up the possibilities and give some opportunities for 
specialization. Surely by the time a woman reaches 
college, her dominant interests should have been 
developed or she should at least begin to take an 
interest in what they are likely to be. 

Household arts education is not very old. It 
Conservatism ^as been a part of our educational 
prevents schools for Only twenty years — in some 

introduction of j j j 

household arts, places it is not yet incorporated as a 
part of the general curriculum. That the colleges 



DOMESTIC ART AS A PART OF COLLEGE TRAINING 249 

are slow to adopt it is due largely to the old-time 
conservatism and lack of understanding of the real 
meaning of "cultural" — for it has been claimed that 
the college courses must be cultural. Regarding 
the proposed college course in home economics of 
the Lake Placid Conference, Dr. Balliet said: "The 
work mapped out has as high cultural value as the 
best courses now given in college, if we must keep 
on contrasting the * cultural' and the 'practical,' as 
if they were mutually hostile to each other. Some 
day — several thousand years to come — ^when spec- 
tacled professors shall study 'American antiquities,' 
all these 'common' 'practical' processes — the ways 
of cooking meals, manufacturing clothes, etc. — will 
be 'cultural' subjects on which learned courses of 
lectures will be given, and which will be accepted 
as proper subjects for theses for the degree of doctor 
of philosophy. . . . Somehow, according to college 
students, knowledge must have a certain age before 
it becomes 'cultural.' When it is so far behind the 
time that it ceases to be practical, then it becomes 
cultural." 

College authorities often have a singular method 
of differentiating between the value of studies in the 
curriculum. Mrs. Ellen Richards once said: "The 



250 DOMESTIC ART 

housing of the poor is already allowed as a college 

course. Why not the housing of college students? 

We have condescended to study the 

Importance of ■' 

the home as slums, it IS time we studied ourselves.'' 

a study. 

To this might be added not only the 
study of ourselves in relation to shelter, but also 
in regard to proper food and clothing, the admin- 
istration of our homes and the care and nurture 
of our children. There can be no more impor- 
tant college subject than the home. It covers the 
earth as far as fulness of subject-matter is con- 
cerned, and all the arts and sciences may be applied 
to home practices. In this age and era of educa- 
tion, the practical must be reckoned with by all 
who are planning courses. The home stands as 
the very centre, in training for the upbuilding of 
character or for good citizenship; and if this effi- 
ciency is the aim of the education for women, then 
the home subjects must be better represented in 
our college courses. 

There have been many difficulties which those 
Difficulties interested in the introduction of house- 
introducing ^^^^ ^^^^ ^^^^ ^^^^ colleges have had 
household arts, to facc. Perhaps the old-time conserv- 
atism mentioned above has been the most diffi- 



DOMESTIC ART AS A PART OF COLLEGE TRAINING 251 

cult. This will soon pass away when those inter- 
ested in this field of work are able to present the 
subjects in such a manner as to appeal to college 
authorities. There may be objection at first to the 
introduction of any practical work, but at least 
some subject-matter may be presented in lecture 
courses and an introduction given to this field. It 
very often happens that high school girls preparing 
for college have no opportunity for the study of house- 
hold arts, since their courses of study must be gov- 
erned to a great extent by the college entrance re- 
quirements. A girl who fails to get this work in 
high school naturally goes through college with no 
knowledge of the practical affairs of the home, and 
if she is at college away from home there is no 
opportunity for her to come in touch with the prac- 
tical things of life. The results are often truly 
pitiable. The author has known a good many such 
girls and they have made a strong appeal to her for 
some knowledge of the practical. As one girl re- 
marked, "If I only knew how to make my own 
shirtwaists and summer dresses and trim my own 
hats, what a saving it would mean to father! And 
all I can cook is fudge." This came from a girl 
of fine mind, a graduate of one of the Eastern col- 



252 DOMESTIC ART 

leges for women, perfectly prepared in mathematics 
and interested in her subject, but totally ignorant of 
Meeting the home affairs. This girl is one of the mar- 

aSirs'ofiife ^^^^^ ^Y^^' ^hat results are likely to 
is inevitable, follow! She must meet the practical af- 
fairs : they are inevitable. She will be obliged to learn 
through sad experience in a more or less painful 
way and at the sacrifice of her own health, time, 
energy, and money, as well as that of her family. 
She is only one of many such girls who must face 
the home problems. The fact that colleges have not 
recognized for credit the high school work in house- 
hold science has greatly hindered the development 
of this work in both college and high school. The 
time is almost here when college entrance boards 
will accept for credit certain courses given in house- 
hold arts in the high school. The fact that it has 
not been credited in the past is due to poor teaching 
rather than to insufficient value in the subject- 
matter. Some associations for college entrance are 
showing interest by requesting the formulation of 
possible schemes of work for credit. 

Another difficulty has been the lack of properly 
trained teachers to present this work. It is only 
very recently that women with college degrees have 



DOMESTIC ART AS A PART OF COLLEGE TRAINING 253 

become interested in the household arts work. 
Many have previously considered it undignified 
Qtijgj. and have turned from it to other fields 

difficulties. q£ teaching. We must have our in- 
structors in literature and the classics in order that 
our girls may know this field of spiritual possession, 
but we need strong women to take an interest in 
the development of the home subjects as well. Each 
year produces a few more and the time will surely 
come when we shall have competent instruction for 
college work in home economics. The field is very 
broad and the opportunity very large for any one 
who will prepare herself for this work. House- 
keeping and home-making are certainly a profes- 
sion, and intelligent, thoughtful preparation must be 
demanded from those who are to present this sub- 
ject to the next generation, for their health and hap- 
piness are at stake. 

Another difficulty is the readjustment of subject- 
matter in order that this work may find a place. 
This is easily managed when the authorities are 
interested and face the value of this work. The 
arrangement of periods, the opportunity for courses 
in appKed science instead of all pure science work, 
the chance for elective courses, make possible the 



254 DOMESTIC ART 

introduction, if there is a willingness to have it in 
the curriculum. 

There are many possibilities in relation to subject- 
matter on both the artistic and scientific sides 
of home management and study. In 

Possibilities in "^ 

college courses relation to the domestic-art work there 

for women. • i i ^ n 

are many phases suitable for college. 
The economic side of clothing and shelter offer 
opportunities in connection with a general course in 
college economics. Woman as spender — what 
should her knowledge be of materials, their manu- 
facture; how to purchase and regulate her expend- 
itures; how to judge of the wage and demands 
made of the worker or seamstress? Should she 
know and study the relative expenditure for gowns, 
shoes, hats, gloves, as well as household furnish- 
ing? Should she be taught to think of economy of 
time, money, and energy in order that she may have 
time to enter into philanthropic study and service? 

The home as a sociological study offers opportunity 
for courses in this field — the family, the home-maker, 
true and false standards of living, luxury, relation- 
ship of members in the home, the true home spirit. 

From an artistic point of view much of interest 
can be offered — the history of architecture, and of 



DOMESTIC ART AS A PART OF COLLEGE TRAINING 255 

the various periods of decoration; history of tapes- 
tries, and of other textiles; Ruskin and Morris and 
their influence on art and its development ; the his- 
tory of costume and evolution of dress. Work in 
practical design should be offered in connection 
with such a course. 

Some practical work in the study of materials, 
their composition and adulteration, will prove of 
interest and value in college work. The standard- 
izing of textiles may be brought about when women 
have an intelligent understanding of their composi- 
tion and can judge between values; this will lead 
naturally to a demand for proper labelling and 
representation of their composition. Some practical 
work in garment-making may well find a place in a 
college course if the girls have had no high school 
instruction in sewing. The work should be of value 
and adapted to the needs and interests of the 
students. 

These arguments for the introduction of house- 
hold arts work into the college have been made 
because the home is the dominant interest in the 
lives of most women. The writer has not lost sight 
of the other college courses which the woman if 
well educated should surely have — those studies in 



256' DOMESTIC ART 

literature and language which make for freedom of 
spirit and help in developing the imagination and 
world of thought and feeling. These should not be 
neglected when a woman leaves college, but should 
be the foundation for her later study and develop- 
ment. The difficulty, however, in so many homes is 
that the women are hampered by their so-called 
home duties and have little or no time to soar into 
the realms of literature or art. This is nearly always 
due to a lack of understanding of relative values and 
of economy of time in home management. House- 
hold arts and economics should stand for simplicity 
in material things so that there will be time for 
other life-interests. If the college woman knows 
nothing of household economics, how can she be free 
from the dominance of things ? If she knows noth- 
ing of the resources of modern science, how can she 
apply them to her home and its improvement ? It is 
only through such a scientific study that she can 
make the ideal home of the future — the home which 
will surely be the solace of the nation. 

The following scheme may be suggestive of some 
of the possibilities for a college course for women. 
This outline gives only the domestic-art phases of 
a possible course in household arts. 



DOMESTIC ART AS A PART OF COLLEGE TRAINING 257 

DOMESTIC ART AS PART OF A COURSE IN HOUSE- 
HOLD ARTS, IN COLLEGES FOR WOMEN 



Household 
Arts 



Domestic science 
Domestic art 



Food 
Shelter 
. Clothing 



Home management. 



The courses following in domestic art are numbered I and II, 
and could be given in the ist and 3d or 2d and 4th college 
years, leaving the alternate years for work in domestic science. 

Course I. — Clothing and Design 

Three Periods Weekly- One-hour Lecture. Two Hours Prac- 
tical Work. Throughout the Year 

I. Clothing — 

(i) Economics of spending. 

(i) Woman as spender. 

(2) Cost of clothing. 

{a) Materials. Affected by adulterations, bargain sales, sec- 
onds, out of season and style, sweatshop labor, quality, econ- 
omy in selection. 

{h) Making, (i) Dressmaker, seamstress, time, wage. 
(2) Home-made by self — hand-work on gowns. (3) Time for 
various garments. (4) In harmony with means, occasion, and 
personality— style, comfort, beauty. (5) Color in relation to 
dress. 

(c) Care and cleansing of clothes. Repairing. (Chemistry 
of cleansing and textiles — related course.) 

(3) Relation of cost of clothing to income. Proportion for 
gowns, hats, coats, shoes, gloves, etc. Depending on life, 
position, climate, etc. 



258 DOMESTIC ART 

(ii) Hygiene in relation to clothing. 

(i) Comparison of leading textile fibres. 

(a) Chemically and microscopically. 

(&) History, growth, manufacture, properties and qualities 
as affecting health. 

(c) In respect to suitability of clothing dependent on climate, 
occupation, general health, etc. 

(iii) Ethics of shopping. 

(i) Consumers' League. 

(2) Sweatshop labor. 

(3) Co-operatives. 

(4) Economy of time, energy, money, through system, and 
consideration of others. 

(iv) History of clothing, 
(i) Evolution of dress. 

(a) Relation to growth, education, and environment of differ- 
ent periods. 

II. Design. (Practical work, two periods weekly, first 
semester) — 

(i) Principles of design and combination of colors. 

(2) Block printing, stencilling for scarfs, cushions, book- 
covers, draperies, etc. 

(3) Designs for simple hand-work on gowns. 

(4) Drawing human figure. Proportions, draping, lines in 
relation to figure, effects on appearance, showing art in lines 
of dress, costume design. 

III. Clothing. (Practical work two periods weekly, sec- 
ond semester) — 

(i) Economy in ability to do. 

(a) Making of shirtwaist and simple summer gowns such as 
would appeal to college girls. 



DOMESTIC ART AS A PART OF COLLEGE TRAINING 259 

Course II. — Shelter 

{Two Periods per Week for One Year) 

I. The House — 

(i) The exterior. (History of architecture a related course.) 

(i) Appearance, location, city, country, suburb. 

(2) Rents. Proportion of rent to income, number of indi- 
viduals, etc. 

{a) Adaptation to needs, position, etc., of occupants. 
(b) False standards. 

(3) Municipal art. Municipal League. Woman in rela- 
tion to civic affairs. (Social economics a related course.) 

(ii) The interior. 

(i) The home. 

{a) Meaning, atmosphere, affected by social changes; effi- 
ciency, happiness dependent on. 

(h) The family, the home-maker, false standards; desire for 
luxury. 

(2) The decoration and furnishing. 

{a) Economy, (i) Respect to beauty, comfort, and health; 
position and needs of occupants. (2) Making most of existing 
circumstances. Dealing with and planning for specific prob- 
lems. (3) Least expenditure of time, energy, money. 

(h) Specific rooms, (i) Bedrooms, living-rooms, dining- 
room, etc. Ceilings, walls, floors, arrangement. (2) Decora- 
tion and furnishing. Floor coverings, walls, draperies, lighting, 
furniture, glass, pottery, tapestries, coloring, materials, quahty, 
amount, cost. 

(3) Proportioning of household expenditures. Repairs. 
New furnishing. 



26o DOMESTIC ART 

II. History of Periods of Decoration — 

(i) Handicraft movement. Ruskin and Morris in relation 
to household art. 

(2) History of tapestries and other textiles. 

(3) History of silver, glass, etc. 

III. Excursions — 

Stores, factories, museums, study of furniture, stained glass, 
tapestry, etc. 

References for Study 

"Report of Lake Placid Conference on Home Economics,'* 
1907. 



CHAPTER XIII 

DOMESTIC ART IN OTHER HIGHER INSTITU- 
TIONS OF LEARNING 

Domestic art may or may not be a phase of a 
girl's general training in college, but it now forms a 
decided part of the work open to women in other 
higher institutions of learning. 

It is offered in many of the state and agricultural 
colleges as work of educational value open to women 
in the general course and counts for credit toward 
graduation. This is often designated as a home- 
maker's course and presents work in the various 
phases of domestic art as previously outlined. The 
work is often required as part of the general course, 
with opportunity for electives if there is particular 
interest in this specialty. In other instances this 
work is entirely elective. The courses offered are 
generally of a practical nature^garment and dress 
making, millinery and embroidery, designing and 
work in textiles. As yet little attention has been 

paid to the economic and ethical phases of the 

261 



262 DOMESTIC ART 

work, although the artistic and scientific sides have 
received some attention. These should be of par- 
ticular interest in higher education and make woman 
a wiser administrator of the funds which it will be 
her duty to disburse as she carries on the business 
of home-making. The courses offered in the State 
and agricultural colleges should aim to give this 
direction to the work. It is fatal to the cause for 
students graduating from this general course in 
the State college to go into this teaching field 
without additional preparation. Many of these 
State colleges have normal departments where 
additional training may be had in the more strictly 
educational phases of the work. Examples of the 
State and agricultural colleges giving work in do- 
mestic art are Ohio State University; University of 
Illinois; Ames Agricultural College, Ames, la; Mich- 
igan State Agricultural College; University of Ten- 
nessee. 

Ho'me-maker's courses are offered in many of the 
higher institutions besides the State and agricultural 
college. They are open, as a rule, to girls with 
and without previous high school training, and may 
be of an elementary or advanced nature. The work 
offered covers practical courses in household man- 



DOMESTIC ART IN OTHER INSTITUTIONS 263 

agement, care of children, home nursing, elementary 
and advanced cookery for household use, garment- 
making, dressmaking, millinery, costume design, 
house sanitation, housewifery, and others. These 
studies group themselves about the shelter, nutri- 
tion, and clothing of the family, and reach a large 
class of girls v^ho will probably marry early and 
do not care for the more academic studies, but are 
interested in the practical things of life. Such 
courses cannot fail to produce better and more in- 
telligent homekeepers. Domestic art offers such 
students courses in dressmaking, garment-making, 
millinery, and embroidery. Courses in costume 
designing, color harmony, elementary design, and 
house decoration, study in the fabrics for use both for 
clothing and furnishings, and distinctive study in- the 
wise purchase of articles of clothing and furnishings. 
The hygiene, cost, durability, repair, and selection 
of materials are all closely allied in this economic 
study. Examples of this type of course may be 
found at the School of Household Arts, Teachers 
College, Columbia University; Pratt Institute, Brook- 
lyn; Stout Training School for Homemakers, Me- 
nominee, Wis.; Drexel Institute, Philadelphia; Uni- 
versity of Chicago, and others. 



264 DOMESTIC ART 

Normal domestic-art trainiug is offered in many of 
our universities, colleges, and technical institutions. 
In most of these the course is open to high school 
graduates, although some require two years of work 
in advance of the high school training. This, as a 
rule, insures a better grade of teacher and the course 
proves of greater value than when taken without 
additional training or experience. It is very wise 
for young students expecting ultimately to specialize 
in domestic-art teaching to have some experience in 
general teaching before undertaking the specialty. 
As a rule they make much better teachers when they 
possess some knowledge of general class-room man- 
agement. A normal course in domestic art should of- 
fer instruction in the following subjects which cannot 
possibly receive just treatment in less than two years 
of intensive study. A three years' course is advisable. 

(i) History and principles of education. 

(2) General and educational psychology. 

(3) Theory of teaching domestic art, with oppor- 
tunity for practical work in its various phases. 

(4) Supervision and organization of work in vari- 
ous types of schools. 

(5) The study of textiles, their manufacture, eco- 
nomic purchase, durability, properties, and use. 



DOMESTIC ART IN OTHER INSTITUTIONS 265 

(6) Garment-making, to include the application 
of all the hand-sewing stitches. 

(7) Dressmaking, both elementary and advanced, 
with facilities for practice. 

(8) Millinery. 

(9) Miscellaneous hand-work, such as crocheting, 
knitting, and weaving. 

(10) Elementary design and color harmony. Ad- 
vanced work in design and color, with direct appli- 
cation to costume and home furnishings. 

(11) The home as a sociological study. Its spirit, 
plans for its artistic study, both on the exterior and 
interior. 

(12) Economics of the home in relation to home 
management, expenditures, purchase and repair of 
household clothing and furnishings. 

Such training prepares for the teaching of sewing 
in elementary or high schools and supervisory work 
in schools or higher institutions. Not all teachers, 
however, who pursue such a course are fitted to do 
supervisory work. Much will depend on the pre- 
vious training and experience. The demand in the 
teaching field of higher education is at present for 
women who have college degrees as well as diplomas 
for teaching the specialty. Such women must 
possess strong personalities and have the power of 



266 DOMESTIC ART 

initiative. The demand for this type of woman 
cannot be met and the field is open to those who 
will prepare themselves adequately for it. 

With the development of trade school work in 
this country will probably come a demand for 
teachers and directors for such schools. In addi- 
tion to the above outlined course, directors of trade 
schools should be students of general economics 
and sociology, as well as of the industrial conditions 
of women and children. They should be college 
women of the highest training with the spirit of 
investigation and a willingness to probe the diffi- 
culties in this particular field. So many of the 
trades open to women group themselves about the 
needle that it is preferable that the director be a 
woman who knows well the domestic-art field of 
work, although the future will see other lines of 
trade for women introduced in this type of school. 
The teachers in trade schools should be women with 
specific intensive knowledge of the kind of work to 
be taught. The general course in domestic art as 
outlined, with perhaps some omissions of the psy- 
chology and history of education, will make a good 
foundation for future intensive practical work in 
trade, of some phase of domestic art, or may sup- 



DOMESTIC ART IN OTHER INSTITUTIONS 267 

plement the practical work of years of experience 
in trade. Normal training courses are given in 
Teachers College, Columbia University; Drexel 
Institute, Philadelphia; Mechanics' Institute, Roch- 
ester; Stout Training School, Menominee, and 
other institutions. 

Household arts work in higher institutions is 
beginning to offer opportunity to students to prepare 
themselves for non-teaching positions. Courses are 
open to those who wish to prepare for institutional 
and household administration, dietetics, manage- 
ment of laundries, social work, nursing, costume 
design, house decoration, and other specific fields. 
Domestic-art work enters as a phase of the prepara- 
tion of institutional and household administrators 
on the specific side of design, clothing, and textiles, 
their economic purchase, care, use, properties, etc. 
This phase of domestic-art work enters also into the 
training of social workers, house decorators, and cos- 
tume designers. 

Examples of institutions offering such training are : 
Household Arts School, Columbia University; Sim- 
mons College, Boston; Pratt Institute, Brooklyn, 
and others. 



A SELECTED BIBLIOGRAPHY OF BOOKS 

HELPFUL IN THE STUDY OF THE 

VARIOUS PHASES OF DOMESTIC ART 



EDUCATIONAL 

(i) "The Method of the Recitation." McMurray. (Mac- 
millan, 1904.) 

(2) "The Educative Process." Bagley. (Macmillan, 1905.) 

(3) "Principles of Teaching, Elements of Psychology." 

Thorndike. (A. G. Seller, New York, 1907.) 

(4) "School and Society." Dewey. (Chicago University 

Press, 1899.) 

(5) "The Place of Industries in Elementary Education." 

K. E. Dopp. (Chicago University Press.) 

(6) "EngHsh Reports on Education." Sadler. (Vols. 10 and 

II, American Education.) 

(7) "TheMakingof Our Middle Schools." Brown. (Long- 

mans, 1903.) 

(8) "Youth. Its Education, Regimen, and Hygiene." G. S. 

Hall. (Appleton, 1907.) 

(9) "Teachers College Records." (Teachers College, New 

York.) 

(10) "The Child and the Curriculum." Dewey. (University 

of Chicago Press.) 

269 



270 DOMESTIC ART 

(11) "Notes on Child Study." Thorndike. (Macmillan, 

1903-) 

(12) "Report of Massachusetts Commission on Industrial 

and Technical Education." (Boston, 1906.) 

(13) "Trade and Technical Education." (Seventeenth Annual 

Report of the United States Commissioner of Labor, 
1902, Washington.) 

(14) "The Manhattan Trade School for Girls." Mary S. 

Woolman. (Educational Review, September, 1905, 
vol. 30.) 

(15) "Trade Schools — ^An Educational and Industrial Neces- 

sity." Mary S. Woolman. (The Social Education 
Quarterly, vol. i, March, 1907.) 

(16) "The American High School." J. F. Brown. (Mac- 

millan, 1 9 10.) 

(17) "Beginnings in Industrial Education." Paul Hanus. 

(Houghton Mifflin, 1908.) 

(18) "The Making of a Girls' Trade School." Mary S. 

Woolman. (Whitcomb and Barrows, Boston.) 

SEWING AND DRESSMAKING 

(i) "School Needlework." O. C. Hapgood, 1893 (Teachers' 
Edition). (Ginn.) 

(2) "A Sewing Course." Mary Schenck Woolman. (F. A. 

Frenald, Buffalo, N. Y., 1908.) 

(3) "Dressmaking Up to Date." (Butterick Publishing Com- 

pany.) 

(4) "The Complete Dressmaker." (Edited by C. E. Laugh- 

lin, 1907.) 

(5) "Dress Cutting, Drafting, and French Pattern Modelling," 

M. Prince Brown. (Archibald Constable and Com- 
pany, London.) 



BIBLIOGRAPHY 27 1 



MISCELLANEOUS HAND-WORK 

(i) "How to Make Baskets." Mary White. (Doubleday, 
Page.) 

(2) "Varied Occupations in String Work." Louise Walker. 

(Macmillan, 1895.) 

(3) "Occupations for Little Fingers." Sage and Cooley. 

(Scribner, 1905.) 

(4) "Embroidery." W. G. Townsend. (Truslon, London, 

1899.) 

(5) "Embroideries and Their Stitches." (Butterick Publish- 

ing Company, New York.) 

(6) "Practical Millinery." J. Ortner. (Whitaker, London, 

1897.) 

(7) "Columbia Book of the Use of Yarns." Wm. H. Horst- 

man Company, Philadelphia.) 

(8) "Woman's Library of Needlework." Ethel McKenna, 

1903. 

(9) "Lace." Goldenberg. (Brentano, 1904.) 

HOUSEHOLD ART 

(i) "Philosophy of Color." Clifford, 1904. 

(2) "Color, Dress, and Needlework." Lucy Crane. (Mac- 

millan.) 

(3) "Suggestions for Instruction in Color." (Prang, 1893.) 

(4) "Art in Needlework." L.F.Day. (Scribner, 1900.) 

(5) "Household Art." Mrs. Candace Wheeler. (Harper, 

1893-) 

(6) " Some Principles of Every-Day Art." L. F. Day. (Scrib- 

ner, 1900.) 



272 DOMESTIC ART 

(7) "Household Art." Mrs. Candace Wheeler. (Harper, 

1893.) 

(8) "Plea for Handicraft." Crane. (The Philistine Maga- 

zine, March, 1900.) 

(9) "Colonial Furniture in America." Lockwood. (Scribner, 

1901.) 

(10) "History of English Furniture." Percy Macquoid. 

(Putnam, 1904-6.) 

(11) "History of Architecture." Hamlin. (Longmans, 1895.) 

(12) "Houses in City and Country." H. Stone, 1903. 

(13) "The Art of Right Living." EUen H. Richards. 

DRESS 

(i) "Costumes of Colonial Times." Earle. (Scribner, 1894.) 

(2) "Two Centuries of Dress in America." Earle. (Mac- 

millan, 1903.) 

(3) "What Dress Makes Us." Quigley. (Dutton, 1897.) 

(4) "English Costume." Callthorp. (A. and C. Black, Lon- 

don, 1906.) 

(5) "The Human Body." Martin. (Holt, 1900.) 

ECONOMIC AND SOCIOLOGICAL STUDIES 

(i) "Principles of Economics." Fetter. (Century, 1904.) 

(2) "The Woman Who Spends." Richardson. (Whitcomb, 

1904.) 

(3) "How to Keep Household Accounts." Haskins. (Har- 

per, 1903.) 

(4) "Home Economics." M. Parloa. (Century, 1898.) 

(5) "Encyclopedia of Household Economy." E. Holt. (Mc- 

Clure, Philadelphia.) 



BIBLIOGRAPHY 273 

(6) "Economic Function of Women." Edward De vine. (Pub- 

lished by American Academy of Political and Social 
Science, No. 133, Philadelphia.) 

(7) "Social Control." Ross. (Macmillan, 1901.) 

(8) "Democracy and Social Ethics." Jane Addams. (Mac- 

millan, 1902.) 

(9) "The Level of Social Motion." Lowe. (Macmillan, 

1902.) 

(10) "New Basis of Civilization." Patten. (Macmillan, 

1907.) 

(11) "Cost of Living." Ellen H. Richards. 

(12) "Home Problems from a New Standpoint." Caroline 

L. Hunt. 

(13) "Vocations for the Trained Woman." (Women's Edu- 

cational and Industrial Union, of Boston, 19 10.) 

STUDY OF TEXTILES 

(i) "The Story of the Cotton Plant." F.Wilkinson. (Apple- 
ton, 1899.) 

(2) "Cotton Spinning." F. Marsden. (Macmillan, 1895.) 

(3) "Woolen Spinning." Charles Vickerman. (Macmillan, 

1894.) 

(4) "Textile Fibres." Matthews. (Wiley, 1904.) 

(5) "The Dyeing of Textile Fabrics." Hummel. (Cassell, 

1893-) 

(6) "Textiles and Clothing." Kate H. Watson. (American 

School of Home Economics, Chicago.) 

(7) "Woolen and Worsteds." McLaren. (Cassell, 1899.) 

(8) "Linen— How It Grows." (National Flax Fibre Com- 

pany, 1900.) 

(9) "Linen Trade — Ancient and Modern." Warden. (Long- 

mans, 1867.) 



274 DOMESTIC ART 

(10) "Silk Culture in California." Carrie Williams. (Whit- 

aker, 1902.) 

(11) "Weaving and Designing." Ashenhurst. (Simpkins, 

London, 1879.) 

The following magazines give helpful suggestions for those 

interested in domestic art: 

"The School Arts Book." $1.50 per year. (Davis Press, 
Worcester, Mass.) 

"The Manual Training Magazine." $1.50 per year. (Man- 
ual Arts Press, Peoria, 111.) 

"The Ladies' Home Journal." $1.50 per year. (Curtis Pub- 
lishing Company, Philadelphia.) 

"The Good Housekeeping Magazine." $1.50 per year. 
(Phelps Publishing Company, Springfield, Mass.) 

"The Woman's Home Companion." $1.25 per year. (Cro- 
vi^ell Publishing Company, New York.) 

"The Delineator." $1.00 per year. (Butterick PubHshing 
Company, New York.) 

"Harper's Bazar." $1.25 per year. (Harper & Bros., New 

York.) 

"L'Art de la Mode." $3.50 per year. (Morse, Broughton Co., 

New York.) 

"Elementary School Teacher." $1.50 per year. (University 
of Chicago Press, Chicago.) 

"Teachers College Record." $1.00 per year. (Teachers 
College, Columbia University, New York.) 

"Educational Review." $3.00 per year. (Educational Re- 
view Company, Columbia University, New York.) 

"The Survey," formerly " Charities and the Commons." $2.00 
per year. (Charity Organization Society.) 

"The Craftsman." $3.00 per year. (Gustav Stickley, 41 
West Thirty-fourth Street, New York.) 



1911 



